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ON kee) LIC VIEW 
FROM 9 A. M. UNTIL 6 P. M. 


eet AMERICAN ART GALLERIES 


BLOCK OF MADISON AVENUE, 56TH TO 57TH STREET, NEW YORK 
ENTRANCE, 30 EAST 571TH STREET 


BEGINNING WEDNESDAY, FEBRUARY 28ru, 1923 
AND CONTINUING UNTIL THE DAY OF THE SALE 


THE RARE AND BEAUTIFUL 


Pek TREASURES 


COULLEC RED BY THE LATE 


ENRICO CARUSO 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
eee beeMERICAN ART GALLERIES 
ON MONDAY, TUESDAY, WEDNESDAY AND THURSDAY 
AFTERNOONS, MARCH 518, 61H, 71H ap 81H, AT 2.15 O’CLOCK 


AND EVENINGS OF MONDAY, MARCH 5ru, AND 
THURSDAY, MARCH 8rn, AT 8.15 O’ CLOCK 


% 


IEDUSERALTED CATALOGUE 
OF 


[fare isk ANI BEAUTIFUL 


ANTIQUE ART TREASURES 


MANY OF WHICH CAME FROM 
THE J. PIERPONT MORGAN, SPITZER, BARDAC, MAURICE KANN AND 
RODOLPHE KANN COLLECTIONS 


AMERICAN AND FOREIGN GOLD COINS 
AND 
MANY OPERATIC COSTUMES 


THE PROPERTY OF THE LATE 


ENRICO CARUSO 


moran OLD AT UNRESTRICTED PUBLIC SALE 


BY ORDER OF MESSRS. WISE & SELIGSBERG, ATTORNEYS FOR DOROTHY 
CARUSO, ANCILLARY ADMINISTRATRIX, AND FOR THE FAMILY 
OF THE LATE ENRICO CARUSO 


ON THE AFTERNOONS AND EVENINGS HEREIN STATED 
foie AMERICAN: ART GALLERIES 


CATALOGUE BY MISS STELLA RUBINSTEIN, MR. ERNEST 
GOVETT, MR. SAHIM KOUCHAKYJI, MR. DANA 
H: CARROLE AND: OTHER AUTHORITIES 


THE-SALE-TO: BE CONDUCTED BY 


MR. THOMAS E. KIRBY 


AND His associaTes, Mr. Orro Berner AND Mr. Hiram H. Parke, OF 


THE AMERICAN ART ASSOCIATION, Manacers 
ENTRANCE, 30: EAST 57ru STREET 
NEW YORK 
1923 


CONDITIONS OF SALE 


__I. Rejection of bids: Any bid which is not commensurate with the value of the 
article offered or which is merely a nominal or fractional advance may be rejected by the 
auctioneer if in his judgment such bid would be likely to affect the sale injuriously. 

II. The buyer: The highest bidder shall be the buyer, and if any dispute arises 
between two or more bidders, the auctioneer shall either decide the same or put up for 
re-sale the lot so in dispute. 

Ill. Identification and part payment by buyer: The name of the buyer of each lot 
shall be given immediately on the sale thereof, and when so required, each buyer shall 
ate a card giving the lot number, amount for which sold, and his or her name and 
address. 

Payment at the actual time of the sale shall be made of all or such part of the 
purchase prices as may be required. 

If the two foregoing conditions are not complied with, the lot or lots so purchased 
may at the option of the auctioneer be put up again and re-sold. 

IV. Risk after purchase: Title passes upon the fall of the auctioneer’s hammer, 
and thereafter neither the consignor nor the Association is responsible for the loss or 
any damage to any article occasioned by theft, fire, breakage or any other cause. 

V. Delivery of purchases: Delivery of any purchases will be made only upon pay- 
ment of the total amount due for all purchases at the sale. 

Deliveries will be made at the place of sale or at the storage warehouse to which 
purchases may have been removed. 

Deliveries at the American Art Galleries will be made only between the hours of 
9 A. M. and 1 P. M. on sales’ days and on other days—except holidays, when no deliveries 
will be made—between the hours of 9 A. M. and 5 P. M. 

Deliveries at places of sale other than the American Art Galleries will be made 
only during the forenoon following the day of sale unless by special notice or arrange- 
ment to the contrary. 

Deliveries at the storage warehouse to which goods may have been sent will be made 
on any day other than holidays between the hours of 9 and _5. 

Deliveries of any purchases of small articles likely to be lost or mislaid may be 
made a the diseretion of the auctioneer during the session of the sale at which they 
were sold. 

VI. Storage in default of prompt payment and calling for goods: Articles not paid 
for in full and either not called for by the purchaser or delivered upon his or her order 
by noon of the day following that of the sale will be turned over by the Association to 
some carter to be carried to and stored in some warehouse until the time of the delivery 
therefrom to the purchaser, and the cost of such cartage and storage will be charged 
against the purchaser and the risk of loss or damage occasioned by such removal or 
storage will be upon the purchaser. 

NOTE: The Limited space of the Delivery Rooms of the Association 
makes the above requirements necessary, and it is not alone for the 
benefit of the Association, but also for that of its patrons, whose goods 
ote a ag would have to be so crowded as to be subject to damage 
and loss. 

VII. Shipping: Shipping, boxing or wrapping of purchases is a business in which 
the Association is in no wise engaged, and will not be performed by the Association 
for purchasers. The Association will, however, afford to purchasers every facility for 
employing at current and reasonable rates carriers and packers; doing so, however, 
without any assumption of responsibility on its part for the acts and charges of the 
parties engaged for such service. 

VIII. Guaranty: The Association exercises great care to catalogue every lot cor- 
rectly and endeavors. therein and also at the actual time of sale to point out any error, 
defect or imperfection, but guaranty is not made either by the owner or the Association 
of the correctness of the description, genuineness, authenticity or condition of any lot 
and no sale will be set aside on account of any incorrectness, error of cataloguing or 
imperfection not noted or pointed out. Every lot is sold “as is’ and without recourse. 

Every lot is on public exhibition one or more days prior to its sale, and the 
Association will give consideration to the opinion of any trustworthy expert to the 
effect that any lot has been incorrectly catalogued and in its judgment may thereafter 
sell the lot as catalogued or make mention of the opinion of such expert, who thereby 
will become responsible for such damage as might result were his opinion without 
foundation. ; 

IX. Buying on order: Buying or bidding by the Association for responsible 
parties on orders transmitted to it by mail, telegraph or telephone will be faithfully 
attended to without charge or commission. Any purchases so made will be subject to 
the foregoing conditions of sale except that, in the event of a purchase of a lot of one 
or more books by or for a purchaser who has not through himself or his agent been 
present at the exhibition or sale, the Association will permit such lot to be returned within 
ten days from the date of sale and the purchase money will be refunded if the lot 
in any manner differs from its catalogue description. : 5 

Orders for execution by the Association should be written and given with such 
nlainness as to leave no room for misunderstanding. Not only should the lot number 
he given, but also the title, and bids should be stated to be so much for the lot, and 
when the lot consists of one or more volumes of books or objects of art, the bid per 
volume or piece should also be stated. If the one transmitting the order is unknown to the 
Association, a deposit should be sent or references submitted. Shipping directions should 
also be given. 

Priced Catalogues: Priced copies of the catalogue or any session thereof, will be 
furnished by the Association at charges commensurate with the duties involved in copying 
the necessary information from the records of the Association. 


AMERICAN ART ASSOCIATION, 
New American Art Galleries, 
Block of Madison Avenue, 56th to 57th Street, 
Entrance, 30 Hast 57th Street, 
New York City. 


INTELLIGENT APPRAISALS 


FOR 


UNITED STATES AND STATE TAX 


INSURANCE AND OTHER PURPOSES 
AND 


CATALOGUES OF PRIVATE COLLECTIONS 


APPRAISALS AND CATALOGUES. Together with the increase in 
its exhibition and sales rooms, the American Art Association will expand its 
service of furnishing appraisements, under expert direction, of art and literary 
property, jewelry and all personal effects, in the settlement of estates, for in- 
heritance tax, insurance and other purposes. It is prepared also to supplement 
this work by making catalogues of the contents of homes or of entire estates, such 
catalogues to be modelled after the finely and intelligently produced catalogues 
of the Association’s own Sales. 


The Association will furnish at request the names of many Trust and Insur- 
ance Companies, Executors, Administrators, Trustees, Attorneys and private 
individuals for whom the Association has made appraisements which have not only 
been entirely satisfactory to them, but have been accepted by the United States 
Revenue Department, State Comptroller and others in interest. 


THE AMERICAN ART ASSOCIATION 


AT ITS 


NEW AMERICAN ART GALLERIES 
THE BLOCK OF MADISON AVENUE, 56TH To 57TH STREET 


ENTRANCE, 30 EAST 57TH STREET 
NEW YORK CITY 


4 
¢ 


ANCIENT GLASS 


Interest in antique glass is ever growing, but the supply continues small, 
and hence the collection of representative pieces is daily found more difficult. 
The average collector of antiques has usually to be content with a dozen or a 
score of good examples, and considers himself lucky if among these he has 
secured two or three specimens of the first order, whether in rarity, workman- 
ship, or beauty. There are no more Gréau collections to be bought and dis- 
tributed, and the public museums increase rather than diminish their activities. 
For these reasons the Caruso assembly of old glass, to be sold piece by piece, 
will excite eager curiosity among: private collectors. It will be observed that 
the distinguished singer followed no settled plan in forming his collection, 
except that he practically confined himself to cabinet examples. He was equally 
interested in a rare alabastron of ancient Egypt, a superb piece of mosaic 
work made for a Roman patrician, or a small bowl, once plain, but which hoary 
time has turned to a thing of brilliant lustre. Among the numerous entourage 
of the central specimens are found examples of every form, and from every 
quarter of the known world within range of Roman civilization, while from 
the earliest to the latest piece some fifty generations of men passed away, for 
the fall of Troy was recent history when the first was fashioned, and the last 
was blown when Italy was gasping beneath the weight of Attila. 

If special attention needs to be called to any of the specimens, it must 
be to the Egyptian series, and particularly Nos. 238, 248, 590, 593, 640 and 
651; and to the mosaic work of Rome in the early Imperial days, of which 
Nos. 77, 221, 574, 603, 604 and 622 form perhaps the most perfect exam- 
ples. The Roman specimens are particularly interesting, as the production 
of some of the colors used, notably the delicate blue (by transmitted light) 
of No. 622, suggests an advanced knowledge of the chemistry of metals in 
Imperial Roman times which is not generally credited. | 

As usual in such collections, there has been considerable difficulty in cata- 
loguing the works. Comparatively little knowledge of the history of ancient 
glass is available, and in connection with no country can any definite sequen- 
tial progress be traced. Even as to the very earliest glass known (save for 
fragments and beads)—that of the 18th Egyptian Dynasty—the industry 


seems to have started with the art almost at its summit, while with Rome there 


appears to have been a sudden leap about the time of Augustus, from the 
imported Alexandrian toilet ware to the superb mosaic work which represents 
the highest pinnacle ever reached in the art. Moreover, except in a few of 
the outlying provinces, the locality where the specimens were discovered by no 
means necessarily indicates the place of their manufacture. For instance, 
Egyptian glass is found in Greek and Roman tombs, and numerous pieces, 
unquestionably made in Gaul, are dug up in Syria and Byzantium. These and 
other difficulties had to be overcome by taking advantage of the records, and 
by adopting a grouping system when possible, but in many cases the period 
assigned to the Roman provincial works is necessarily approximate. In the 
case of Egyptian glass, though it is rarely possible to fix the precise dynasty 
to which an early piece belongs, there are certain indicators which enable a 
fairly accurate broad division to be made; these indicators being the colors 
used, the shapes of the articles, and the technique. Relying upon these points, 
all the Egyptian examples of the period B.C. have been divided into three sec- 
tions: namely, from the 19th to the 21st Dynasty; from the 22nd to the 30th 
Dynasty (including in the latter the short Ochus period) ; and the Ptolemaic 
epoch. Nevertheless, it must not be forgotten that there are two distinct 
groups of Egyptian glass belonging to the Ptolemaic period, the first executed 
more or less in the manner of the very ancient ware, and the second correspond- 
ing with this only in general shape and style, the details as to colors and finish 
varying largely. The objects in the second group are sometimes called Roman 
imitations of Egyptian ware, but this is denied by the chemical nature of the 
colors used in the known Roman work, and by other facts, and practically alli 
the heavy alabastron and ampulla types with dragged patterns must be as- 
signed to Egypt, though those of the second group referred to were probably 
made at Alexandria, mostly for export. Other than these, examples of obvious 


Alexandrian origin are so described. 
EK. Govetr. 


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THe AMERICAN ART ASSOCIATION 
MANAGERS 


SALE AT THE AMERICAN ART GALLERIES 


ART TREASURES 
Collected by the Late 
ENRICO CARUSO 
Afternoons of March 5 to 8 (inclusive) 
and Evenings of March 5 and 8, 1923 
To save time and to prevent mistakes each Purchaser will 
oblige the Managers by filling in this slip and handing it 
to the Record Clerk or Sales Attendant on making the first 
purchase. 


Purchaser’s Name 
Address in Full—_— 


Amount of Deposit- 


FIRST AFTERNOON’S SALE 


MONDAY, MARCH 5, 1923 


IN THE ASSEMBLY HALL 


OF 


THE AMERICAN ART GALLERIES 


BEGINNING AT 2.15 O'CLOCK 


Catalogue Numbers 1 to 255, inclusive 


GREEK AND ROMAN GLASS, DATING FROM 200 B.C. TO THE FIFTH 
CENTURY A.D. 


1—Smatut Brown Guass Bown Roman, First Century A.D. 


Oo With purple and blue iridescent surface. 
. Height, 1% inches. 


2—Smatu Bowt Roman, Second Century A.D. 


3 ©, With light rib markings; fine iridescence. 
: Height, 21, inches. 


3—Smatu Heavy Bown Roman Provincial, Third Century A.D. 
AY With ribbed surface decomposed to a brilliant green. 


Height, 21% inches. 


4—SmatL Heavy Bowx Roman Provincial, Third Century A.D. 
SIS. Decorated with molded diaper pattern; fine iridescence. 


Height, 2%, inches. 


Kindly read the Conditions wnder which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


5—Smatt Bow. Roman Provincial, Fourth Century A.D. 


So _ With brilliant iridescence. 
Height, 2%, inches. 


Smatt Licut Jue witH Biur Hanne 
Roman Provincial (Normandy), Fourth Century A.D. 


Ve Decorated with blue bands and beads in relief. 


6 


Height, 21% inches. 


7—Pair oF PERFUME BotTrLeEs Syrian, Fourth Century A.D. 
/bo. Molded in the form of dates. 
Height, 21 inches. 


8—Licut BottT Le Roman Provincial, Third Century A.D. 


£5, Decorated with bars and beads. Iridescent. 
Height, 23/4, inches. 


9—Smatit VasE Syrian, Fourth Century A.D. 


We: With molded heads; fine iridescence. 
Height, 21, inches. 


10—Smatut Brive Grass Borrie Roman, Third Century A.D. 


30. Iridescent. 
; Height, 234 inches. 
11—Smartt Wuire Iripescent Vase 
Roman Provincial (Danube), Fourth Century A.D. 


28, Decorated with drawn points. 
Height, 214 inches. 


12—AmpuLia IN DeEep Buive Egyptian, Ptolemaic Period 


WE. Decorated with black lines and yellow zigzag on white. 
Height, 234 inches. 


13—Smauu Vase Egyptian, Ptolemaic Period 
With reddish ground. Decorated with yellow bands, and blue and white 

40, light drag pattern. Height, 2 inches. 
14—ViaL StTanp Roman, Second Century A.D. 
40 In iridescent bluish glass. Height, 2%, inches. 
15—Smatut Bowni Roman Provincial, Fourth Century A.D. 


bo. With surface decomposed to an iridescent white. 
Height, 21/, inches. 


16—Smatt Buvurt Guass Jue Roman Provincial, Fourth Century A.D. 
4S. With white handle; body ribbed. Height, 2%/, inches 


First Afternoon 


17—ALABASTRON 
Egyptian, Twenty-second to Thirtieth Dynasty 
b eo In yellow glass; decorated with white and dark zig- 
"gag drag pattern. 


Height, 31% inches. 
(Illustrated) 


18—Smartu Bown Roman, Second Century A.D. 


20 In blue glass. 
; ; Height, 21/, inches. 


19—Buve Guass Botrrte Roman, Third Century A.D. 


ed ae Slightly iridescent. 17 
, Height, 21% inches. 


20—SMALL JAR Roman Provincial, Third Century A.D. 


40 With brilliant iridescence. 
; Height, 2%, inches. 


21—SmaLu Jar Roman, Second Century A.D. 
AS. With surface decomposed to brilliant iridescence; neck ribbed. 


Height, 234 inches. 


22—SmatuL Buvue Guass BorrteE Roman Provincial, Third Century A.D. 


20 Iridescent. 
a Height, 2% inches. 


23—-Smatut BotTTLe Roman, Second Century A.D. 


bo In white opaque glass, with blue surface. . 
: Height, 21%, inches. 


24—Smatut Bow. Roman Provincial (Danube), Third Century A.D. 
Le With brilliant iridescence; decorated with pinched points. 
Height, 21, inches. 


25—Turee MisceLLtaneous PiEecEs 
S$. Glass bowl; jug with spout; pair handles for an ampulla. (Damaged.) 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


26—Bow.u or Drrer Brown Gtuass 
Roman, First Century B.C. 


2So. Decorated with diagonal dragged inset lines; 
fine iridescence. 


Height, 234 inches. 
(Illustrated) 


27—SMatu InpENTED VASE 
Roman Provincial, Fourth Century A.D. 


IS, With serpentine decoration round neck. 
Height, 3 inches. 


26 


28—Smatyt Vase Roman Provincial (Rhine), Fourth Century A.D. 


/S . With serpentine decoration. 
Height, 34, inches. 


29—Smatu Botte Roman Provincial (Rhine), Fourth Century A.D. 


J . With pinched decoration. Inidescent. 
Height, 334 inches. 


30—Smatyt Jar Roman, Third Century A.D. 


oo) oO Fine iridescence. 
. Height, 3% inches. 


31—Bow.u Roman Provincial (Rhine), Fourth Century A.D. 
Sys Decorated with plain and zigzag threads in relief; blue ribbon loops. 


Height and diameter, each 3%4 inches. 


32—Jue Egyptian, Ptolemaic Period 
fo In blue glass; decorated with yellow threads and white drag pattern in 
9 


relief. 
Height, 33, inches. 


33—SMALL JAR Roman Provincial, Fourth Century A.D. 


©. With indented body. Ividescent. 
Height, 31, inches. 


34— Asxkos 
Roman Provincial, Fourth Century A.D. 
J/%S- Varied into modern teapot shape. Iridescent. 


Height, 3%, inches; diameter, 3 inches. 


(Illustrated) 


35—OpaauE WuitE Botrie 
Palestine, Fourth Century A.D. 
4 0. With hexagonal body, bearing molded vases in 
relief, 
Height, 3 inches. 


36—Brown Guass Botrrue 
Syrian, Third Century A.D. 
iS - With molded decorations; iridescent. 


Height, 3 inches. 


First Afternoon 


37—Smatt Biuer VIAL Roman Provincial, Third Century A.D. 


)2. S © Decorated with white bands, inset. 


Height, 3% inches. 


388—ALABASTRON Egyptian, Ptolemaic Period 


20 In blue glass; decorated with white and yellow feather pattern. 


Height, 31% inches. 


39—Smatu Licutr Juc Roman Provincial, Fourth Century A.D. 


Zo, With wide ribs on body; iridescent. 


Height, 334 inches. 


40—Buve Grass BorrLe Palestine, Fourth Century A.D. 


ISO With hexagonal divisions containing molded vases, etc., in relief. 


Height, 3 inches. 


41—Buve Grass Bottle Roman, Second Century A.D. 


40 With white rim; iridescent. 


Height, 3 inches. 


42—BorTrTrLe Roman Provincial, Fourth Century A.D. 


30 Decorated with bands and zigzag, and ribbon loops. 


Height, 31% inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


43—BorriLe 
Roman Provincial (Danube), Third 
Century A.D. 
With bowl body and short neck; decorated 
with pinched points on ribbon in relief. 
Height, 3 inches. 


(Illustrated) 


44—BorrT Le Syrian, Fourth Century A.D. 
ie With body formed of two molded heads, the 
“©. surface decomposed to blue. 


43 


Height, 3 inches. 


45—SMa.LuL BotrTLe Syrian, Fourth Century A.D. 


L5- In imitation of stone; body formed of two molded heads. 
Height, 3 inches. 


46—BotTrLe Palestine, Fourth Century A.D. 
With light blue surface, the body hexagonal with molded vases on the 


7/0. sides. 


Height, 3 inches. 


47—SmMaL.L Totter FuasKx Roman Provincial, Third Century A.D. 


XS. With molded designs. 
Height, 31% inches. 


48—Tacur Borrite Roman Provincial (Normandy), Fourth Century A.D. 


3, With ribbon handle and decoration. 
Height, 3%, inches. 


49—VasE in CLEAR GLaAss Syrian, Third or Fourth Century, A.D. 
— With surface decomposed to white, with bright iridescence. Body 


©- molded with diaper pattern. 
Height, 3% inches. 


50-—-Smatu BotrLe Syrian, Fourth Century A.D. 


eS With the body formed of two molded heads; iridescent. 
° Height, 3 inches. 


First Afternoon 


51—F uasxk Roman Provincial, Fourth Century A.D. 


5 In light brown glass; iridescent. 
d Height, 33/, inches. 


52—Bow.u Roman Provincial (Rhine), Fourth Century A.D. 


80. In brown glass, decorated with a zigzag neck guard. 
Height, 3 inches. 


53—Smautui VAsE Roman, Second Century A.D. 


Zo In blue glass; iridescent. 
, Height, 31%, inches. 


54—_ AMPULLA Egyptian, Ptolemaic Period 
50 In thick dark blue glass; decorated with drag pattern, and sunken 
* threads. 


Height, 334, inches. 


55—Cuear Guass VASE Roman Provincial, Fourth Century A.D. 


4s, With molded diaper design. Good iridescence. 
: Height, 31%, inches. 


56—Smauu BotTtTLe Syrian, Fourth Century A.D. 


Fo With body molded to represent a pineapple. Inidescent. 
: Height, 33/4, inches. 


57—Roman Jue Roman, about Third Century A.D. 


eee Iridescent glass. BOR AA 
58—Green Grass VIAL Roman Provincial, Fourth Century, A.D. 
J2,SoWith grooved body ; iridescent. RS, 
59—Smatt Bive VaAsE Roman Provincial, Third Century A.D. 
cue With body ribbed. Ividescent. er eH 
60—Tvuse Fiask Roman Provincial, Fourth Century A.D. 
MS. Decorated with spiral threads in relief. aces 
61—Smauu Fuask Roman Provincial, Fourth Century A.D. 


i ! brilliant red and purple. 
ie Go With surface decomposed to a bruliant r purp see 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


62—Drinxine Guass 
Alexandrian Second Century A.D. 
Wy With skeleton feather pattern in partial relief ; 
re) 


> ribbon loops. 
Height, 31%, inches. 
(Illustrated) 


63—CiEaR Grass Jar 
Roman Provincial, Fourth Century A.D. 


3o, With surface decomposed to white; iridescent. 


Height, 314 inches. 


64—Toiter Borrie Roman, Third Century A.D. 
4A O In brown glass; decorated with spiral white threads in relief ; iridescent. 
Height, 31% inches. 


65—Smauu Borrie Roman, First Century A.D. 


g Oo In onyx ware; blue with light drag pattern. 
: Height, 31%, inches. 


66—Smatut Buve Guass Borrie Roman, Second Century A.D. 


ee Iridescent. 


Height, 31% inches. 


67—Smatu Borris : Syrian, Fourth Century A.D. 


/ 2,80 n brown glass, with hexagonal body bearing molded designs. 


Height, 31% inches. 


68—Brown Grass Jar Roman, Third Century A.D. 


cee With molded ball decoration. 
Height, 3%, inches. 


First Afternoon 


69—Tuick Brown Bown 
Alexandrian, First Century A.D. 


oo if ©- Decorated with blue and white dragged lines. 


Slightly iridescent. 
Height, 3 inches. 


(Illustrated) 
70—BottTLe Syrian, Fourth Century A.D. 
EVs With body formed of two molded heads; slightly 


iridescent. 


69 


Height, 4 inches. 


71—Borrie wirH Rispep ParrEerNn 
3 Roman Provincial, Fourth or Fifth Century A.D. 


White handles; iridescent. 
Height, 414 inches. 


72—SMALL Fuaskx Roman, Third Century A.D. 


2O Iridescent. 
Z Height, 414 inches. 


73—TortetT Jar Roman Provincial, Third Century A.D. 


i With diagonal ribs; iridescent. 
0. : Height, 434, inches. 


74—Parr or Toiter Borries Syrian, Fourth Century A.D. 
Jo Molded in imitation of dates; iridescent. 


/ 


75—Toret Borris Syrian, Fourth Century A.D. 


— Molded in imitation of a date. 


NS. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


76—Toitet BotrrLe Roman, Second Century A.D. 
7S. Ring pattern; decorated with lightly dragged white 


bands. Brilliant iridescence. 
Height, 4 inches. 


(Illustrated) 


77— Bow. Syrian, Fourth Century A.D. 


Molded with geometrical designs; brilliant irides- 
/20. cence. 


Height and diameter, each 4 inches. 


76 
78—ALABASTRON Egyptian, Ptolemaic Period 
3 In deep blue; decorated with spiral white bands and white feather 
pattern. 
Height, 4 inches. 
79—Syrian LexyTHOs Fourth Century A.D. 


RS With ribbon decoration ; iridescent. 
z Height, 434, inches. 


80—Licutr Drinxine GLass 
Roman Provincial, Fifth Century A.D. 


/Oo. With pear and bead molding. Invidescent. 
Height, 41, inches. 


81—AmpuLia Egyptian, Ptolemaic Period 

O Dark blue ground with yellow bands, and yellow and brown zigzag in 
Z * light blue. 

Height, 2% inches. 

82—Syrian LexyTHOos Fourth Century A.D. 


20. Decorated with spiral threads in relief. 
Height, 41%, inches, 


First Afternoon 


83—Syrian LekytHos Fourth Century A.D. 


Zo. Decorated with heavy threads in relief. 
Height, 4 inches. 


84—StenvER Torter BotrtTie Roman Provincial, Third Century A.D. 


ER In clear glass, with bright iridescence. 
Height, 414 inches. 


85—Curear Guass Jar Roman, Third or Fourth Century A.D. 
Jo . With surface decomposed to brilliant iridescence. 
Height, 4 inches 


86—Cuiear Guass Friasx Roman Provincial, Fourth Century A.D. 


Ta Iridescent. 


Height, 4°/, inches. 


87—BotrLe Roman, Second Century A.D. 
A In light blue glass, with ribbed body; surface lightly dragged; irides- 
S. cent. 


Height, 4 inches. 


88—Licut Brown Botrie Roman Provincial, Fourth Century A.D. 


BAG: With neck decorated with white threads in relief ; iridescent. 
Height, 4 inches. 


89—-BivrE Guass Borrie Roman, First Century A.D. 

y) So With long neck. 
7, Height, 4% inches. 
90—Smat.L Borrie Roman Provincial, Second Century A.D. 
vA In onyx ware; blue, with light flourishes. 
oO. Height, 21%, imcehes. 
91—Smaut Licut Bown Roman Provincial, Fourth Century A.D. 

With indented body; iridescent. 

Ms. : Height, 21, inches. 
92—AMPULLA Egyptian, Ptolemaic Period 


AR Dark blue ground, with spiral yellow bands, and yellow and brown zig- 


zag on blue. 
Height, 2% inches. 


93—OINoCcHOE Egyptian, Twenty-second to Thirtieth Dynasty 


45 . Deep blue ground, with white inset threads. Iridescent. 
je Height, 2% inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


94—Syrian LekyTHOs Fourth Century A.D. 


PAS With ribbon decoration. Fine iridescence. 
Height, 4 inches. 
(Illustrated) 


95—AMPULLA 
) Egyptian, Twenty-second to Thirtieth 


4p Dynasty 
Dark blue ground, with yellow bands, and yel- 
low and light blue zigzag markings. 
Height, 234 inches. 


96— Bown 
Roman Provincial, Fourth Century A.D. 


With surface decomposed to bright green. 
Height, 214, inches. 


94 


9'7—AMPULLA Egyptian, Ptolemaic Period 


20 Dark ground, with white zigzag lines. 
F Height, 2 inches. 


98—Smauu Licut BotTLEe Roman Provincial, Fourth Century A.D. 


ke Molded to imitate a bunch of grapes. 
Height, 234 inches. 


99—Bowu Roman Provincial (Rhine), Fourth Century A.D. 


LO . With zigzag ribbon decoration and blue zigzag band. 
Height, 2%, inches. 


First Afternoon 


100—Smatt Brown Bown Roman Provincial, Fourth Century A.D. 
UD With iridescent surface. . 
Height, 2%, inches. 
101—Smatt Bown Roman Provincial, Fourth Century A.D. 
Vie With very brilliant iridescence. 
Height, 2% inches. 
102—Smatt Brown Bortrrie Roman, Second Century A.D. 
20 Slightly iridescent. 
: Height, 234 inches. 
103—Smaui Vase Syrian, Fourth Century A.D. 
RG With molded decoration ; iridescent. 
z Height, 21% inches. 
104—ARYBALLOS Roman, Second Century A.D. 
JSS, In deep blue glass ; iridescent. 
5 Height, 2°, inches. 


105—Roman Smartt Buack JAR 
Roman Provincial, about Third Century A.D. 


30. With three handles; decorated with three cameos. 
Height, 214 inches. 


106—Smatt Bown Roman, about Second Century A.D. 
With grooved body; brilliant iridescence. 

20 7 5 Z Height, 2°/, inches. 
107—Syrian Buve Toretr Borris Syrian, about Third Century A.D. 
With molded panels. 

jo: Height, 214 inches. 
108—Licut Brive Borrie Roman Provincial, about Fourth Century A.D. 


With black handles; iridescent. 
Jo. Height, 2% inches. 


109—Smatt Bow. Roman, First Century A.D. 
3 Black glaze. 

. Diameter, 21/, inches. 
110—Smatt Bown Roman, about Third Century A.D. 


With brilliant iridescence. 
é or Height, 2 inches. 


111—Pam or Smart WuitE Curs Roman, First Century A.D. 


JIO. 


Diameter, 24%, inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


112—Smartt Moupep Jar Roman, Second Century A.D. 


ep In bright blue. 
4) Ox Height, 21% inches. 


113—Pair or Rives Alexandrian, about First Century A.D. 
3S. In alternate black and white plates. 


Diameter, 21, inches. 


114—Smatut Borris Roman, Second Century A.D. 


2S . With fine iridescence. 
Height, 234 inches. 


115—Smatit Crear Guass Jue Roman, First Century A.D. 


Be With surface decomposed to bright blue; iridescent. 
. Height, 3 inches. 


116—Licut Buive BotTrTie Alexandrian, Second Century A.D. 


240 _ With pinched decoration. 
Height, 31%, inches. 


117—Smaxtt Botte Roman, First Century A.D. 


Ao, In onyx ware; blue with light blue dragged flourishes. 
Height, 3 inches. 


118—Smatut Bivur Hexaconat Borris 


N Roman Provincial, Fourth Century A.D. 
OQ. With sides molded in geometrical designs. 
Height, 314 inches. 


119—Brown Guass Vase Roman Provincial, Third Century A.D. 

SO. With zigzag ribbon decoration; surface decomposed to bright irides- 
cence. 

Height, 3 inches. 

120—VasE Roman Provincial, Third Century A.D. 


Vine With molded diaper pattern on body; surface decomposed to an even 


iridescent white. 
Height, 31 inches. 


121—Buve Guass Botte Alexandrian, Second Century A.D. 


/5. With oval ribbed body ; iridescent. 
Height, 31, inches. 


First Afternoon 


122—BotTLE Roman, First Century A.D. 
aor In imitation of variegated agate. 


Height, 334, inches. 
(Illustrated) 


123—BottTLe 
Roman Provincial, Third Century A.D. 
28° With body molded in ball pattern; surface de- 


composed to light iridescence. 
Height, 3 inches. 


124—Smatt Vase Roman Provincial, Third Century A.D. 
Le With four handles; surface decomposed to light iridescence. 
Height, 314, inches. 


125—BottT Le Roman, Third Century A.D. 
4. a In greenish glass; decorated with pinched bands; brilliant iridescence. 
; Height, 31/4, inches. 


126—Bow1 Roman Provincial, Fourth Century A.D. 
2o. Im green glass; decorated with green threads in relief, and ribbon loops. 
Height, 314 inches. 


127—Curear Bownr Roman Provincial, Fourth Century A.D. 
WAS Decorated with rings of thread in slight relief ; body indented. 
Height, 31, inches. 


128—Bowu Roman Provincial, Third Century A.D. 
With surface decomposed to a bright green; molded diaper pattern. 
/ae. | 
Height, 344, inches. 


Kindly read the Conditions wnder which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


129—Licut BrownisH VaAsE 
Roman Provincial (Rhine), Fourth Century A.D. 


}3, With ribbon handles and band in blue. 
Height, 314 inches. 
130—Brown Guass Bowr Roman Provincial, Third Century A.D. 
/S . With indented body; light iridescence. 
Height, 334, inches. 
131— Bow Roman Provincial, Third Century A.D. 
JOq@. Molded with diaper pattern, the surface decomposed to a brilliant green. 
Height, 3 inches. 


132-——Drinxine Cup Roman Provincial, Third Century A.D. 
JS. Of greenish glass; surface decomposed to bright iridescence. 

Height, 314, inches. 
133—Brown. Guass InDENTED Bown 
Roman Provincial, Third Century A.D. 


20. With light iridescence. 
Height, 31/, inches. 


134—Drinxine Cup Roman, Third Century A.D. 


20. Wn greenish glass, with light iridescence. 
Height, 31%, inches. 


1385—Criear Grass Bow. 
Roman Provincial (Normandy), Fourth Century A.D. 
20, Decorated with ribbon loops, and rings and zigzag threads in relief. 
Height, 31/, inches. 
136—-GreEN Grass Cyiinpricat Bow. Roman, Fourth Century A.D. 
7S. With rim. 
Diameter, 81%, inches. 
137—BottLE Roman, First Century A.D. 


2@. In onyx ware; dark brown with white flourishes inset. 
Height, 3 inches. 


138—Crear Borris Roman Provincial, Fourth Century A.D. 
Ya: With surface decomposed to light iridescence. 
a: Height, 33/4 inches. 
139—Borrie Syrian, Fourth Century A.D. 


/ Oo. ™ blue with light molded designs. 
; Height, 3%, inches. 


First Afternoon 


140—Cup Roman Provincial, Third Century A.D. 
ys With inverted cup base and three handles; surface decomposed to bright 
iridescence. 


Height, 3 inches. 

141—BortrLe Roman Provincial (Rhine), Fourth Century A.D. 
fb. Of greenish glass; decorated with threads and zigzag in relief. 

Height, 3°34 inches. 


142—Bow. Gaul, Fourth Century A.D. 
Ge In light glass; decorated with ribbon loops and zigzag threads; irides- 
cent. 


Height, 31%, inches. 


143—Drinxine Guass Roman, Third Century A.D. 


JS. With iridescent surface. 
Height, 34, inches. 


144—Drinxine Guass Roman, Fourth Century A.D. 


ne: 
Sa. With iridescent surface. 
Height, 3 inches. 


145—Parr or Green Grass Tomer Disnes 
es : Roman Provincial, Fourth Century A.D. 
Inverted bell shape. 


Height, 31/, inches; diameter, 5 inches. 

146—Smati VasE Roman Provincial, Fourth Century A.D. 

2o _ Of clear glass, with a greenish surface molded in diamond diaper pattern. 

Height, 3%, inches. 

147—-Ciear Guass VasE Syrian, Fourth Century A.D. 
XK is With the body formed of two molded heads; iridescent. 

Height, 334 inches. 

148—Tortet Juc Roman, Third Century A.D. 


3S, im greenish glass, with dark surface. 
K Height, 31% inches. 


149—Brown Jue Syrian, Fourth Century A.D. 


Jo: With molded decoration. 
: Height, 31% inches. 


150—Ot1nocHOE Roman, First Century A.D. 


In brown glass, with the surface decomposed to a fine green and varie- 


7°: gated iridescence. 
Height, 3%4 inches. 


Kindly read the Conditions wnder which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


151—Inwescent PERFuME FLask 
Roman Provincial, Fourth Century A.D. 


VO: Of light glass. 
Height, 31, inches. 


152—Smatu PERFUME FLAskK 


Roman Provincial, Fourth Century A.D. 


eee Of light glass; iridescent. 
Height, 3 inches. 


153—Darx Gray Fuasx with SHort, Narrow Neck 

¥- Alexandrian, Second Century A.D. 
o Height, 3 inches. 
154—Toretr Borr.e Roman Provincial, Third Century A.D. 


Tae With brilliant iridescence. 
: Height, 3 inches 


155—A Moupep Heap Probably Late Gaulish 
JS. Nearly solid. 


156—Eecyptian Amputta Egyptian, Twenty-second to Thirtieth Dynasty 
3o Black ground, with decorations of yellow bands and white zigzag 


markings. 
Height, 21 inches. 


157—Smauru Botrie Roman Provincial, Fourth Century, A.D. 


J? §o Brown glass. 
7 xo. Height, 24% inches. 
158—Smatu Borris Palestine, Third Century A.D. 
b Decorated with molded heads. Surface decomposed to a fine blue. 

O.. Height, 31, inches. 


159—Derrr Rep Borrie Syrian, Third Century A.D. 


‘To With black enamel surface; hexagonal body, each side having a head 
' molded in relief. 
Height, 3 inches. 


160—CiEar Giass JucG Syrian, Fourth Century A.D. 
OS. With formal molded decoration. 

j Height, 41, inches. 

161—CurEar Grass Jue Roman, Third Century A.D. 


4-5. With bright iridescence. 
Height, 434 inches. 


First Afternoon 


162—Jue wirn Contracted Lip Roman Provincial, Third Century A.D. 
2O In clear glass, with blue handle; iridescent. 
: Height, 4%, inches. 
163—Licur Jue Roman Provincial, Fourth Century A.D. 
JO. With surface faintly iridescent. 
Height, 41% inches. 
164—Jue with Rispep SurraceE Roman Provincial, Third Century A.D. 
es Decomposed to brilliant iridescence. 
3 Height, 41% inches. 
165—Totrer Fiask Roman, Third Century A.D. 


JS. Xn clear glass, with iridescent surface. 
Height, 4 inches. 


166 
m O. Iridescent. 


SmaLyt Guass Disu Roman Provincial, Fourth Century A.D. 


Diameter, 41/, inches. 


167—Licur Guiass Jar Roman Provincial, Fourth Century A.D. 


J$. With the surface decomposed to light green. 
Height, 434, inches. 


168—Drinxkine Gass Roman Provincial, Third Century A.D. 


Dat Of greenish hue; iridescent. 
Height, 4 inches. 


169—F ask with TusE Spovur Roman, Fourth Century A.D. 


J. ridescent. 


170—Drinxine Guass Roman, Second Century A.D. 
20. With the surface decomposed to an iridescent white. 


Height, 41, inches. 


Height, 414 inches. 
171—Drrxine Gass Roman, Third Century A.D. 


7 With bright green surface. 
’ Height, 4 inches. 


172—Smauut Guass Basin Roman Provincial, Third Century A.D. 
Uae With surface decomposed to brilliant green. ‘ 


Diameter, 414 inches. 


173—Cuirar Grass Bow. Roman Provincial, Third Century A.D. 


Decorated with spiral threads, the surface decomposed to brilliant iri- 


2 So - descence. 


Height and diameter, each 41, inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


174—GREEN Guass VASE Roman, Second Century A.D. 


Le With body ribbed; slightly iridescent. 
‘ Height, 4°, inches. 


175—Buve Borris Palestine, Fourth Century A.D. 
g With hexagonal body, the sides bearing molded vases, etc. 
ou Height, 4 inches. 


176—Drinxine Guass Roman, First Century A.D. 


3 With surface decomposed to light green; iridescent. 
: Height, 4 inches. 


177—Smatzt PuatTEe anp Bown Roman Provincial, First Century A.D. 


152 In ancient glass. (Damaged.) 


178—Terra-cotta Lamp Gaul, Second or Third Century A.D. 
en With green glaze. 


180—Roman Smart Botrie Roman, First Century A.D. 
34. With light blue ground, and white irregular bands. Fine iridescence. 


Height, 3 inches. 


181—Smatu Two-HanvLEeD BotTLe Roman, Third Century A.D. 


) 5. Of iridescent brown glass. 
Height, 3 inches. 


182—-Smatut GreeEenisH Guass JuG 
Roman Provincial, Third Century A.D. 


Lo. With ribbed body ; iridescent. 
Height, 3 inches. 


183—Smatut BorrLe wirh Hexaconat Bopy 
Palestine, about Third Century A.D. 


/4 0, The sides decorated with molded vases ; iridescent. 
Height, 3 inches. 


First Afternoon 


184—Smauu Iripescent Botrrie 
Probably Gaulish, Fourth Century A.D. 


J#0. In a glass basket carried by a fantastic horse. 


Height, 41% inches. 
(Illustrated) 


185—Eeyptian OrnocHoEr 
Egyptian, Ptolemaic Period 
Fo. Black ground, decorated with green and yellow 
zigzag markings. 
Height, 314, inches. 


186—Smatu Brown Frasx 
Roman Provincial, Fourth Century A.D. 
15~ 


Decorated with indented square diaper. 


184 


Height, 334, inches. 


187—Licut Guass Fiask Roman Provincial, Third Century A.D. 
IS. Decorated with irregular diaper pattern. 
Height, 3%, inches. 

188—Smat.ut VasE Roman Provincial, Fourth Century A.D. 
JS.  (n brown glass ; iridescent. 
Height, 3%, inches. 

189—Iriwescent Tower Jvc Roman, Second Century A.D. 
2d So With trefoil spout. 
: Height, 3°4 inches. 
190—Bow.u Roman, Third Century A.D. 


Decorated with pinched ribs, the surface decomposed to a brilliant iri- 


JFO- 4 
escence. 
Height, 41% inches, 


191—Brown Bow. Roman, Third Century A.D. 
43. With brilliant iridescence. 
Height, 3 inches. 

192—. Jar in GREEN GLASS Gaul, Third or Fourth Century A.D. 


J60 Decorated with pointed buttons; rich iridescence. 
: Height, 44% inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1983—AMPULLA Alexandrian, First Century A.D. 
Joo. Inblue glass with ribbed body. 

Height, 41/4, inches. 

194_BotTTLE Roman Provincial, Third Century A.D. 


In pink glass with body ribbed; slightly iridescent. 
JS. Height, 44, inches. 


195—AMPULLA Alexandrian, First Century A.D. 


Jbo. 


In blue glass; surface decomposed to a light tone; iridescent. 


Height, 41. inches. 


196—AMPULLA Roman, Second Century A.D. 
ig ean blue glass, with dark iridescence. 
t, ; Height, 41, inches. 
197—Onyx Botrie Roman, First Century A.D. 

— In blue, with light drag flourishes. 
JOS - Height, 4 inches. 
198—AMPULLA Roman, First Century A.D. 
J2 In blue glass, with body ribbed. Dark iridescence. 
O. Height, 4%, inches. 
199— Botte Roman Provincial, Third Century A.D. 


With brown ground and ribbed body, the surface decomposed to bright 


ye o- green. 
Height, 4 inches. 


200—BotrTLE Roman Provincial, Third Century A.D. 
i With brown ground, the surface decomposed to a brilliant light irides- 
ee cence: 


Height, 4 inches. 


201—Smatut PerrumEe Fuask Roman, Second Century A.D. 


bo With brilliant blue surface. 
; Height, 4 inches. 


202—Vasr witH SpueEricaAL Bopy Roman Provincial, Third Century A.D. 
/40 Decorated with molded geometrical designs. 
: Height, 4 inches. 
203—BorrTLe Roman Provincial (Danube), Fourth Century A.D. 

ra With body decorated with pinched points. Dark iridescence. 
Height, 4 inches. 


First Afternoon 


204—A Guass Pic Alexandrian, First Century B.C. 
Jbo Probably a satirical representation of the Egyptian god Set. 


Length, 6 inches; height, 3%4 inches. 


205—SLenvER Brown Guass PERFUME Botrie 


> Roman Provincial, Third Century A.D. 
° Decorated with inset white bands. 


Height, 5 inehes. 
206—Two-HANDLED Tortet BotrLue 


So Roman Provincial, Fourth Century A.D. 
da. Iridescent. 


Height, 51 inches. 

207—AMPULLA Egyptian, Ptolemaic Period 
ge Blue ground, decorated with white threads and skeleton feather pattern. 
’ Height, 534 inches. 


208—Syrian LEkyTHOs Fourth Century A.D. 
I. So In greenish glass, decomposed to bright blue, decorated with threads in 
j relief. ; 


Height, 5% inches, 


209—AMPULLA Egyptian, Ptolemaic Period 


In blue glass, decorated with spiral white threads on neck and base, and 
JOS. white drag thread pattern on body. 


Height, 514 inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


210—-Batsam Fuask Roman Provincial, Fourth Century A.D. 


ps In clear glass; iridescent. 
: Height, 5 inches. 


211—Prrrume TvusBE Roman, Third Century A.D. 


SRG With surface decomposed to green. 
: Height, 51%, inches. 


212—Drinkine Guass Roman Provincial, Fifth Century A.D. 
3, In hght green, with molded grooves. 
: Height, 514 inches. 
213—Juc 1n BrownisH Guass Roman, Second Century A.D. 
vale With surface slightly dragged; iridescent. 
: Height, 514 inches. 
214—Jue Roman Provincial, Fourth Century A.D. 
J2, Se Of greenish glass, with iridescent surface. 
: Height, 514, inches. 
215—AMPULLA Egyptian, Ptolemaic Period 
4 In dark ground; neck with spiral yellow threads in relief; body in white 
© feather pattern. 
Height, 514, inches. 


216—AMPULLA Egyptian, Ptolemaic Period 
eS In dark blue, with green handles; neck decorated with thick yellow 
/5 O threads, and body with white and yellow drag pattern. 
Height, 534, inches. 
217—AMPULLA Egyptian, Ptolemaic Period 
Oe The neck decorated with white spiral thread, and the body with feather 
pattern and dragged lines. 
Height, 5 inches. 
218—AMPULLA Egyptian, Ptolemaic Period 
Wie Dark ground, with neck decorated with yellow bands, and the body with 
"irregular feather pattern in white. 
Height, 51% inches. 
219—AmPuLLa Egyptian, Ptolemaic Period 
ee With dark ground; neck decorated with yellow spiral threads, and the 
~ body with yellow dragged lines. 
Height, 51% inches. 
220—WineE Cup Roman Provincial, Third Century A.D. 
50. In greenish glass. 


Height, 5 inches; diameter, 7 inches. 


First Afternoon 


221—Mitterior1 Bown Roman, First Century A.D. 


ys VA Ga With red preponderating tone. 


Diameter, 51/4, inches. 


222—VasE Roman, First Century A.D. 


In greenish glass, the bowl ribbed; surface decomposed to brilliant iri- 


Cie descence. 


Height, 5 inches; diameter, 4 inches. 


223—Borrie Roman Provincial (Rhine), Fourth Century A.D. 


ee In light green glass; body indented, and neck decorated with threads 
: in relief. 
Height, 5 inches. 
224—Crirar Guass Fuask wirh Lone Necx Roman, Third Century A.D. 
2 1p) Iridescent. 
: Height, 61% inches. ~ 
225—Two-HANDLED PERFUME FLask 
Roman Provincial, Third- Century A.D. 
Jo. Slightly iridescent. 
Height, 5 inches. 
226— AMPULLA Roman Provincial (Normandy), Third Century A.D. 
C 0 With grooved body; neck decorated with threads; brilliant iridescence. 


Height, 61% inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


227—CriEar Guass FiLAsk Roman, Third Century A.D. 
JO With pear-shaped body; slightly iridescent. 
‘ Height, 81% inches. 
228—Ovat DisH Roman Provincial, Fifth Century A.D. 
Ls In clear glass; iridescent. 
oe 91, by 6% inches. 


229—Crmar Gass Borris Roman, Second Century A.D. 


40 : Iridescent. 


230—VasE ee Roman Provincial, Fourth: Century A.D. 
35, Of clear glass; iridescent, 


Height, 714 inches. 


Height, 834 inches. 


231—FuNEREAL JAR Roman, First Century A.D. 
2 In greenish glass; iridescent. 
OO. Height, 11 inches; diameter, 9 inches. 


232—Batsam F1ask Roman Provincial, Third Century A.D. 


Jo In greenish glass, with blue handles ; ribbed. 5 
: Height, 6, inches. 


233—Syrian LexyTHos Fourth Century A.D. 


In light green glass; iridescent. 
JS. gnt £ 
: Height, 61 inches. 


234—Syrian LexytuHos Fourth Century A.D. 


29.80 In light green glass; iridescent. 
: Height, 6 inches. 


(Illustrated) 
235—Syrian LexytTHos Fourth Century A.D. 
,7So With triple arch handle, decorated with threads in relief. Bright iri- 
| descence. 
Height, 61/4, inches. 
(Illustrated) 
236—Buvr Guass BatsaAm JuG Alexandrian, First Century A.D. 


4S. With surface slightly iridescent. : 
Height, 634 inches. 
(Illustrated) 


‘HV AWQINAD HLUNOT AHL JO IHLAMAT NVIYAG—CEZ-HEZ ‘SON 


CAV fanquan 18.447) Dap WSIVG SSVI FATY NVIMGNVXATY—9gZ ‘ON 


S&S 9&6 VES 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


237—-THREE-HANDLED VASE Roman Provincial, Fourth Century A.D. 
70 In light glass, with body grooved; iridescent. 
arta, Height, 7%, inches. 
238—AMPULLA Egyptian, Ptolemaic Period 


In dark blue, the neck decorated with wide spiral threads in slight relief, 
Jo. and the body with dragged sunken lines. Handles greenish. 
Height, 7 inches. 


239—FuNEREAL JAR Roman, First Century A.D. 
JOO. In greenish glass ; iridescent. 

Height and diameter, each 714 inches. 

240—Roman Borrie Roman Provincial, Third Century A.D. 


30 With long neck; iridescent. . 
Height, 8 inches. 


241—Licur Frask with Lone Neck 
Roman Provincial, Fourth Century A.D. 


JO. Iridescent. 
Height, 7 inches. 


242-—BorrLe Roman Provincial (Rhine), Fourth Century A.D. 


J5a In greenish glass, with ribbon decoration in blue. 
Height, 7%, inches. 


243—Juc Roman Provincial, Second Century A.D. 


32 So In clear glass, with iridescent surface. 
; Height, 7 inches. 


244—Darkx Brive Batsam Frask Alexandrian, First Century A.D. 
The body formed of the molded head of a girl. 
6/0. Height, 71/, inches. 
(Illustrated) 
245—AMPULLA Roman Provincial, Fourth Century A.D. 
¢ In light glass, the neck decorated with threads in relief; bright green 
handles. 
Height, 914 inches. 
(Illustrated) 
246—Jue Roman Provincial, Third Century A.D. 


2 Inlght glass, ribbed diagonally ; iridescent. 
Height, 91/, inches. 


(Illustrated) 


‘a'V SHIUOINAY) HLYOOY aNV GuIHT, “LSU GHL JO SSV¥TX) TVIONIAOUd NVWOY GNV NVIYONVXATY 


SVG PVG 


9TG 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


24°7—V AsE Roman Provincial, Fourth Century A.D. 
_. In clear glass; iridescent. 

JS 2 Height, 61% inches. 

248—ViAL Alexandrian, First Century B.C. 


igs In thick blue glass, with body squared and tapered. Iridescent. 
oO Height, 6%, inches. 


249—ALABASTRON Roman, Second Century A.D. 


—  Inclear glass, with iridescent surface. 
ibe Height, 6%, inches. 
250—Iriwescent VASE Gaul, Third Century A.D. 


Ws The neck decorated with threads in relief. 
(ee Height, 61% inches. 


251—Syrian LexyTHos Fourth Century A.D. 
9 ss In light green glass, with large handle; decorated with threads in relief. 
/. : Height, 634, inches. 


252—Licut Jue Roman Provincial, Fifth Century A.D. 
With body squared and decorated with molded designs in relief. 


JOS. Height, 6 inches. 


253—Jue Roman Provincial, Third Century A.D. 


a In greenish glass; surface decomposed to brilliant iridescence. 


Height, 6 inches. 
254—Cirar Guass Bown Roman, Second Century A.D. 


Sy) 0. With iridescence. 


Diameter, 614, inches. 


255—Borrie Roman Provincial, Fourth Century A.D. 


ee With surface decomposed to light iridescence. 
z Height, 634, inches. 


EVENING SALE 
MONDAY, MARCH 5, 1923 


IN THE ASSEMBLY HALL 
OF 


THE AMERICAN ART GALLERIES 


BEGINNING AT 8.15 O'CLOCK 


Catalogue Numbers 256 to 555, inclusive 


COLLECTION 


ANCIENT AND MODERN FOREIGN AND UNITED STATES 


GOLD COINS 


_ CATALOGUED BY HENRY CHAPMAN, NUMISMATIST 
PHILADELPHIA, PA. 


Every Coin is guaranteed genuine and I hold myself responsible indefinitely, 
HENRY CHAPMAN. Address: Nos. 333 & 335 South 16th Street, Philadelphia. 


(Coins are sold so much each piece) 


ANCIENT GREEK 


256—Tarentum (Taranto). B.C. 340-281. tin. Head of Nymph r. 
TAPAN (then back to the obverse for the trx completing the word 
24. TAPANTIN. Kantharos. Obol; Weight 11 grains. Size 5. Very fine. 


Extremely rare. 


PERSIA 
257—Arrtaxerxes II. B.C. 405-359. King kneeling to right with bow and 
So. arrow. Ri Punch mark. Stater, weight 128 grains. Extremely fine, 
#2. sharply struck and even. Rare. 
258—-Arraxerxes III. B.C. 359-338. King kneeling to right, the hair large, 
bow and arrow in hands. EK Punch mark. Stater, weight 128 grains. 
1 Very fine. Evenly struck. Rare. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


EGYPT 


259—Protemy I (Soter). B.C. 323-285. Very fine portrait head r; wear- 
ing fillet around head and tiger skin on the neck. Re BAXIAEQ™ 
ITTOAEMAIOY Eagle with raised wings standing on a thunderbolt ; 
ey A in field. 1/10 of a stater. Very fine, but has faint scratches behind 
— the head and microscopic dents on obverse; planchet not even below bust, 
four minute nicks on edge where it has been in a mounting. 


BYZANTINE AMULET, ABOUT TENTH CENTURY 


260—Adoration of the Virgin. The Virgin surrounded by the Twelve 
Apostles, above Christ enthroned and attended by four Angels. Fine 
3. 5” work, some blue enamel yet remains on the field; four small holes in outer 
‘ edge where it has been mounted at the time. Repoussé, the figures en- 
graved in outline and drapery. Size 27, thin. A remarkable and very 

rare object in very fine preservation. 


HOLY ROMAN EMPIRE 


261—Cuartes V, Emperor 1519-1556. The Great, King of Spain. Karotvs . 
D:G.ROM.IMP:Z. HISPA. REX. Half length in armor, crowned and 
Jes with great sword and orb. Fi pa . MIHI . VIRTVTE : CONTRA . HOSTES : 
: Tvos : (Give me strength against thine enemies). Arms on:eagle. One 
and half ducat. Very fine. 
262—Maximitian EMANUEL, 1679-1726. M. E. Vv. B. & P.S. D.C. P. R. S. R.A. 
& E. L. L. (Maximilianus Emanuel Utriusque Bavaria & Palatinatus Su- 
perioris Dux Comes Palatinus Rheni Sacri Romani Imperi Archidapifer 
Iw & Elector Langravius Leuchtenbergensis). Bust with periwig r. 
CLYPEVS OMNIB IN TE SPERANTIB (Thou art a shield to those believing in 
Thee). 1717. Virgin and Child, with sceptre and arms. Double ducat 
1717. Extremely fine. 
263—Marruias II, 1612-1619. Silesia. Breslau. mMaruias . D.G. ROM . 
IM.S.A.G.H.B. REX . siz . (Matthias by the Grace onG@od 
Roman Emperor, Semper Augustus Hungary, Bohemia, Silesia, King). 
oa Fine bust, crowned, and with great ruff, im armor to the right. §& 
LEGITIME CER-TANTIBVS (For those struggling justly; i.e.—meaning this 
coin was struck for those who fight for the right). 1617. MoNET vRATIS 
(Money of Wratislau-Breslau). In center ru, crowned, palm branches 
below. Square double ducat 1617. Very fine. Very rare. 


EMPIRES 
GERMANY 


All to No. 271 have prutscHrs rEICH, Imperial Eagle, date and denomination 
on reverse. 


Evening Sale 


264—Annatt. Frederick. FrrepRIcH HERZOG von aNHALT. Head right. 
[se Twenty marks 1896. Uncirculated. 
Ones As last. Twenty marks 1901. Brilliant proof. 
foal Frederick II. FrrepRicH 0, GROSSHERZOG VON BADEN. Head I. 
5. Ten marks 1909. Brilliant proof. 
267—Saxony. George. GEORG KOENIG VON sACHSEN. Head right. Twenty 
9) marks 1903. Brilliant proof. 
268—Saxony. Ten marks 1903. As last. Brilliant proof. 
69—Saxony. Fred. Augustus. FRIEDRICH AUGUST KONIG Vv. SACHSEN. Head 
5. vr. Ten marks 1905. Brillant proof. 
270—Saxr-Cozsurc-Gorna. Carl Edward. car~L EDVARD . HERZOG . V . 
| So SACHSEN . copurc . v . coTHa. Head r. Twenty marks 1905. Bril- 
lant proof. Rare. 
271—Saxr-Copurc-Gorna. As last. Ten marks 1905. Brilliant proof. 


Rare. 
tte RUSSIA 
272—Perrer I, Tuer Great, 1689-1725. Bust in armor, laureated to right. Kk 
St. Andrew and Cross. Three roubles 1720. Uncirculated, brilliant. 
23. From the Royal Museum at Petrograd about 1907. A wonderful speci- 
men of this interesting Czar. 
273—Euizazeru I, 1741-1761. Bust crowned to r. Ke Eagle and arms. 
£0 Rouble 1756. Very fine. . 
274—Caruertne II, 1762-1796. Splendid portrait bust of this great 
z Empress, and wicked woman, to right. Bj Five arms form cross. Im- 
Jo. perial 1768. Uncirculated. Brilliant and seldom seen so beautiful. 
From the Imperial Museum as first lot. 
275—Nicuoras I, 1825-1855. Double headed eagle with arms. KR Ins in 
/: wreath. Five roubles 1830. Extremely fine. 
276—Nicnoias I. Large double headed eagle occupying all of the obverse. 
$0 FRIns. Five doubles 1839. Extremely fine. 
07" —Arrexanper II, 1855-1881. For Finland. rintanp svomt. Eagle. 
oS 10 markkaa 1879. Very fine. 
278—Aztmxanver III, 1881-1896. Head r. I} Eagle. 10 roubles 1894. Eix- 
tremely fine. 


9. KINGDOMS 
BULGARIA ; 

279—Frrpinanp I. Head 1. BR Arms crowned. 20 tesa 1894. Fine. Scarce. 
DENMARK 


280—CurisTIAN V, 1670-1699. cHRISTIANUS REGNORUM DAN . ET . NORV . 

HERES . NAT . 30. Nov . 1699. Large crown above. JE} spEs . FELICI- 

ae TATIS . NOvI . sEcUII (Hope of happiness in the new age) in wreath. 
Double ducat 1699. Very fine. Very rare. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


281—Frepericx IV, 1699-1730. Frip.mt.pd.G.DAN.NOR.VA.G. REX. 

Bust in armor to right, by 4. Metbus. f. Ti aut . pepir prorrcet 1700 

Ps (He who gives protects). Crown, sword, sceptre on altar, radiant Je- 

’  hovah in Hebrew above. Coronation medal 1700 (about $6 gold value). 
Very fine. Minute dent in obverse field. Rare. 

282—Curistian VII, 1766-1808. curisTIANUS VII. D.G. REX DAN. NOR. 

v .«c. Draped bust r. EK crorta ex amore patriz 1783 (Glory from 

4 love of Country) xm. mM. Crown in center. Twelve marks 1783 (ducat). 

Extremely fine. Scarce. 


EGYPT 
283—FaTHIMEE Catipus or Ecypr. El Mustansir 427-487 A.H.—1035-1094. 
Inscription on both sides but outer line partly off so date cannot be de- 
fe ciphered. Dinar. Fine. 


284—Maumop II, 1808-1839. Thin but diameter of a quarter eagle. Abd-el- 
Medschia 1839-1861. Four about gold $1% size. Uncirculated. 5 pes. 


Lee ENGLAND 
EDWARD III, 1827-1377 
285—Noble of the 4th issue, 1360-1369, after the Treaty of Bretigny, with 
title of Aquitaine, omitting France. EDWARD : DEI : GRA : REX : ANGL : 
DNS : HyB .:. Z aqir. King with sword and shield standing in a ship 
3 having two ropes at the bow, and three at the stern, also flag. KE mc : 
} AVTEM : TRANCENS : PER : MEDIV : ILLORVM : IBAT : (But Jesus pass- 
ing through the midst of them went His way, Luke IV :30). Within a 
tressure of eight arches is a floriated cross with lis terminating each 
limb; in center c for Calais mint; lion crowned in each angle. Uncir- 
culated. Sharp even impression and a magnificent example of this 
beautiful coin. 
HENRY V, 1413-1422 
286—Noble; one rope to bow, two to the stern, otherwise same type as last. 
wy: Annulet at wrist of sword arm. Uncirculated. Well and evenly struck. 
28'7—-Noble, two ropes to bow, three to stern, star at wrist arm and on the 
reverse trefoil over one of the lions, otherwise as above. Uncirculated. 
eke Evenly struck. 
HENRY VI, 1422-1461 


288—Noble. Type as above. Extremely fine, well and evenly struck. 
AS EDWARD IV, 1461-1483 


289—Rose Noble or ryal. EDWARD DI . GRA . REX . ANGL Z FRANC DNS1. B. 
King in a ship, one rope to bow, three to stern, where there is also a flag 
with © for Edward; on side of the ship, a rose. J Inscription as previous 

4. Nobles but in the center a rose superimposed on a sun—the King’s badge 
which he is said to have adopted in consequence of the appearance of 
three suns in the heavens immediately before his first battle, that of 


Evening Sale 


Mortimers Cross 1460, in which he was successful. Extremely fine, well 
struck and even. y 
290—Angel. EDWARD : DI : GRA : REX ANGL Z FRANC (last three words nearly 
all off). Archangel St. Michael piercing the dragon. Ei pER crvsE : 
22 TVA SALVA NO(s) xpc . RED(EM)ToR (By Thy cross, save us, O Christ, 
Our Redeemer). The mast of the ship sustains shield of arms and cross 
at sides of which are kr and arose. Left hand side of the obverse inscrip- 
tion is only half on, otherwise sharp. Uncirculated. 


RICHARD III, 1483-1485 


291—-Angel. Same type as Jast. Splendid even impression on both sides. Ex- 
tremely fine and very rare. 


3). HENRY VII, 1485-1509 
292—-Angel. Type as above. m.m. Lis. Annulet on side of ship. Very fine. 
293—Angel. Type as last. m.m. Cross-crosslet. Very fine. 


a HENRY VIII, 1509-1546 
294—Sovereign of the Second Coinage, 1526. m.m. Rose obverse, lis, reverse, 
a dart. HENRICUS : DEI : GRACIA : REX * ANGLIE : ET : FRANC : DNS : 
ie uip : The king in robes of state seated on a throne, sceptre in right 
‘ hand and globus in left; portcullis at his feet. ) mresvs : avrEm : 
TRANSIENS : PER : MEDIVM : ILLORVM : 1BIT (But Jesus, passing through 
the midst of them, went His way. Luke IV:30). Shield of arms on 
double rose-white and red, symbolical of the union of the houses of York 
and Lancaster in the persons of Henry VII and his Queen, Elizabeth 
of York. Very fine, inscription even and all on. A very desirable ex- 
ample of this highly interesting and very rare coin. 
295—Crown struck during the reign of Catharine Parr, 1543. Survived her 
husband. HENRIC : VIII : RUTILANS : ROSA : SINE : spina : (A dazzling rose 
i So without a thorn). M.M., rose. Crowned rose with crowned u and x at 
: sides. FR pel : G : R : AGLIE : Z : FRAN : DNS : Arms of England 
crowned. Very fine, well struck. Small solder spot on reverse. 


296-—Half Sovereign, 4th and 5th coinage 1544-5, with title of King of Treland. 


MoM. . HENRIC R . DEL. GRA AGL. . . HIB . REX. King enthroned, rose 
"4 at his feet. J Griffin and lion support arms. Very weakly struck, the in- 
. scription on left half of the obverse gone and likewise much of that on 


the reverse. 
ELIZABETH, 1558-1602 

g07—Royal, 1st Coinage, 1560-1572. uiizan 7D \: G > ANG). FR OETA HIB: 
rEGINA. Three-quarter length of the Queen crowned, great ruff, sceptre 
and globus, in a ship to left, flag with » at bow and with a high quarter- 
ag deck; rose on side. Fi 1Hs . AVT . TRANSIENS . PER . MEDIV . ILLORVM .« 
/ 7 rpat (But Jesus, passing through the midst of them, went His way; Luke 
IV :30). Floriated cross, with rampant lion crowned in each angle; 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


rose on sun in the center, all within tressure with trefoil in each angle. 
A brilliant perfect example, evenly struck, of this extremely rare coin. 


298—Fine Sovereign, 2nd issue, 1584-1601. m.m. Scallop shell. ELizABETH . 
D.G. ANG. FRA ~- ET HIB REGINA. The Queen enthroned, portcullis at 
her feet. EX a. DNO. FACTV . EST . ISTVD . ET . EST . MIRAB IN OCYVLIs . 
oS wrs . (This is the Lord’s doing and it is marvelous in our eyes. Psalms 
CXVIII:23). Arms on double rose as explained in No. 294. Very fine. 

Well and evenly struck. 


299—Half Sovereign. m.m. Cross crosslet. ELIZABETH . D :G : ANG. FRA . 

ET . HI. REGINA. Bust of the Queen crowned facing left. Fi scvrvm : 

JS. FIDEI : PROTEGET : EAM (The shield of faith shall protect her). Crowned 
arms, E R at sides. Uncirculated. Perfectly struck. 


300—Half Sovereign. m.m. Tun. ELIZAB . D . G . ANG . BRA ence 

REGINA. Large bust of the Queen to left, crowned, the hair in great mass 

Cas falling loose down the back. R Similar to last, same words. Extremely 
fine. Sharp, even impression. 


301—Crown or quarter sovereign. Same as last. Uncirculated. Sharp, even 
Lor impression. Rare. 
302—Half Crown or eighth of a sovereign. As last. Very fine. Top of the 
head not fully struck up. Very rare. 


303—Angel, 1558-1578. m.m. Cross. ELIZABETH :D :G . ANG . FR ET HI . 
rEcINA. Archangel St. Michael piercing the dragon with a spear. R 
IS A :DNO . FACTVM : EST : ISTVD . ET . EST : mrRABI (This is the Lord’s 
doing and it is marvelous. Psalms, CXVIII:23). Arms on ship, cross on 
the mast, © and rose at sides. Extremely fine. 
304—Half Angel. As last. Planchet over head of St. Michael not quite cir- 
pe cular. Extremely fine. Very rare. 


'305—Quert& Angel. As last. m.m. Crescent. Fine. Very rare. 


x<— 


306—Quarter Angel. As last. m.m. Crescent. ELIZABETH (D : G : ANG : 
FRANCIE . these letters or words are confused on the com). FE (eT) 
/O. HIBERNIE . REGINA . FIDEI Fine but not sharp. Very rare. 


307—Half Sovereign (1567-1570) of the milled coinage which was introduced 
into England from France by Eloye Mestrell in 1561. m.m. Star. Exiza- 
He BETH .D.G. ANG. FRA. ET. HIB . REGINA. Bust crowned, of the 
vig) Queen in very ornate dress, to left. KK scvrvm . FIDEI . PROTEGET . EAM 
(The shield of faith shall protect her). Crowned arms divide £ r (Eliza- 
beth Regina). Edge and border milled. Extremely fine, evenly and 

sharply struck, slightly bent. Very rare. 


JAMES I, 1603-1625 


308—Rose Royal. Third issue, 1605-1619. m.m. rose, 1605-6. 1acosus . D : 
G : MAG ! BRIT . FRAN. ET .° HIBER > REx. “Lhe King siweeeen 
3 robes enthroned, portcullis at his feet. R a . DNO . FACTVM . EST . 


Evening Sale 


ISTVD . ET . EST . MIRAB . IN . OCVLIs . NRIs (This is the Lord’s doing 
and it is marvelous in our eyes; Psalm, CXVIII:23). Arms on double 
rose as on No. 294. Extremely fine. Evenly struck and a splendid speci- 
men of this large coin. 

309—Rose Royal or Thirty Shilling piece. Fourth issue, 1619-1625. mm. 
Spur rowel. IAcoOBVS D : G : MA BRI : FR : ET HIB REX. The King en- 
throned, wearing the robes of the Order of the Garter, sceptre in right 


b: ie hand, modus in left, his feet resting on a portcullis; the high square back 


eo 


of the throne is checkered with roses and lis. R «a pno : ete., as on next 
preceding. Squared shield on cross fleury within two beaded circles; 
between which, and in each angle of the cross is a lion between a lis and 
a rose. Above shield XX X-30 shillings—the first and only time this 
denomination has been made in England. Uncirculated. Sharp, even 
magnificent example of this, one of the most beautiful of modern coins. 
Very rare. 
CHARLES I, 1625-1648 


TOWER MINT 


310—Unite or twenty-shillings. 2nd issue. m.m. Negro head on both sides. 
1626-1627. CAROLVS :D .G :MAG . BRIT : FRA. ET HI. REX. Bust lL, 
crowned, in armor with mantle fastened at the shoulder, large ruff, be- 
hind it X.X-20 shillings. R rrorenr . concorpra . rEGNA (United King- 
doms flourish). Square-topped shield crowned. Uncirculated. The 
milling on left edge weak for quarter of an inch, still a beautiful exam- 
ple—the portrait especially excellent. 


BRIOT’S COINAGE, 1632-1638 


Nicholas Briot was a native of Lorraine, first engaged at the Tower 
Mint in 1628, chief engraver 1633, also master and chief engraver at the 
Scottish mint. His neat and finely struck coins were made by machinery 
and not struck by the hammer. I take the liberty of placing the Scotch 
Unit here as it and the ten shillings are wonderful examples of this 
beautiful coinage. 


311—Ten Shillings. m.m. B and flower. CAROLVS . D :G . MAG . BRITAN . 
FRAN . ET . HIB . REX. Bust of the King, crowned, hair long, large 
falling lace collar; scarf and armor; behind X-10 shillings. Fi cvurores 


2 150 _ svi. DEvs . proTEciIT (God protects His worshippers). Square topped 


ae 


shield; c R crowned at sides. Extremely fine. Rare. 

312—Unite, for Scotland. m.m. B (Briot) and thistle head. caRrotys . D :¢ : 
MAG : BRITAN . FRAN . BT . BIB . REX. Half length in rich armor, 
crowned and with sceptre and mundus r._ fi Is . PRESVM . VT . PROSIM 
(I am set over them, that I may be profitable to them). Arms of Scot- 
land, England and France quartered, and Ireland, crowned. c. RB 
crowned at sides. Uncirculated. Brilliant, perfectly struck and a most 
desirable example of this very beautiful coin. Rare. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


OXFORD MINT, 1642-1646 


313—Three pounds, 1643. m.m. Prince of Wales plumes on obv. only. carotLys 
. D iG. MAGN : BRIT : FRAN : ET : HIB : REx : Half length crowned 
and in rich armor, sword uplifted in right hand, olive branch in left; 
plumes in field. R Exvreat : DEVS : DISSIPENTVR : INIMIcI : (Let God 
72 So arise (and) let his enemies be scattered. Psalm LXVIII:1). Then con- 
tinues the following in center RELIG : PROT : LEG : ANG LIBER : PAR 1643. 
The declaration the king made before the battle of Wellington, Sep- 
tember 19, 1642, that if successful he would protect the Protestant reli- 
gion laws of England and liberties of Parliament. Above three plumes 
and III-8 pounds. This denomination was only coined at this mint 
and that for years 1642, 1643, 1644. Extremely fine. Sharp, evenly 
struck not doubled in any part, which is remarkable. Rare and one of 
the most historically interesting of modern coins. 
314—Unite or 20 Shillings 1643. Similar to last, with same inscription and 
ri device. m.m. Plume. Uncirculated. Sharp, even impression, an un- 
WA. usually beautiful specimen. 


REPUBLIC 
COMMONWEALTH, 1649-1660 


315—Twenty shillings 1651. M.M. Sun. THE COMMONWEALTH OF ENGLAND. 

Shield bearing the arms of St. George between palm and laurel branches. 

Ty. cop wirn vs 1651. Cojoined shields, one bearing the cross of St. 

ae George, the other the Irish harp; above xx = 20 shillings. Extremely 
fine, evenly struck and a splendid example. 


OLIVER CROMWELL, LORD PROTECTOR, 1656-1658 


316—Broad or Sovereign, 1656. oLivakR.D.G.R.P.ANG. SCO. ET. HIB X 
pro. Undraped, unlaureated bust to left. Ty pax . q@vAERITVR BELLO . 

1656 (Peace is sought by War). Edge, milled. Brilliant proof. Sharp 

even impression; a wonderful specimen of this most interesting and very 

Jo rare coin—the issuance of which marked an epoch in Numismatic Art 
and the Coinage of World; they were struck by Cromwell with the consent 

of the Council, the dies being made by the celebrated engraver, Thomas 

Simon, and minted by Peter Blondeau, using his new invention of the 

mill and screw—a benefit to the inhabitants the world over to the present 

time, as it prevented the clipping off of the metal, a crime much in vogue. 


CHARLES II, 1660-1685 


317—Pattern Broad or Sovereign, 1662, by the great artist, Thomas Simon. 

CAR.I1.D.G.M. BR. FR.ET. HI. REX. Exquisite bust of the kame 

laureated, in armor, draped, the hair long and falling down over the 

9) So shoulders, facing left, s (Simon’s initial below). Ik rLorENT . CONCORDIA 

: . REGNA . 1662. (United Kingdoms flourish.) Arms crowned. Ex- 
/ tremely fine. Rare. 


Evening Sale 


318—Two Guineas, 1664. Milled coinage, the dies by Jan Roettier of Ant- 
werp ; the striking by Peter Blondeau, with the mill and screw. carotys . 
Il. DEI . GRATIA. Laureated, undraped bust of the King r.; elephant 
below, the symbol of the African Company who had the privilege of hay- 
“ ing coins struck at the mint from metal imported by them. The gold 
came from Guinea (Africa), hence the name applied to these coins, and 
in use to 1818; still employed in England by art dealers to please the 
wealthy and gouge them an extra shilling profit for the pleasure. i Mac . 
BR. FRA.ET. HIB. REX 1664. The shields of England, Scotland, France 
and Ireland cruciform, sceptres in angles, four interlaced c’s in center. 
Extremely fine. 
319—Guinea, 1683. As last but without the Elephant. The milling not quite 
even but a brilliant example. 


Wie 
JAMES II, 1685-1688 


3820—Five Guineas, 1688. taconpvs.. DEI. GRATIA. Laureated, undraped 

bust 1. FE as last. Edge, pecus rer TVTAMEN ANNO REGNI @vARTO (An 

ee ornament and a safe guard; Virgil, Aen., V 262—fourth year of the 
o Reign). Extremely fine, a few minute nicks. 


WILLIAM AND MARY, 1689-1694 


321—F ive Guineas, 1692. cGvIELMVs . ET . MARIA . DEI. GRATIA. Laureated, 
undraped cojoined busts to r. Ty Mac . BR. FR . ET . HIB . REX. ET. 
Lees REGINA . 1692. Elaborate floriated arms, crowned. Edge, as last. Semi- 
proof, brilliant and remarkable condition and as such rare. 
322—Guinea, 1689. As last. Very fine. 
/2°393 Guinea, 1691, with Elephant and Castle below—explained under No. 318. 
/b.- Uncirculated. Mint lustre. Rare. 
324—Half Guinea, 1692. As above but without Elephant. Very fine. Milling 
off on lower edge. 


: WILLIAM III, 1694-1702, AFTER DECEASE OF MARY 


325—Five Guineas, 1699. cviietmvs m1 Der cra. Rather a small bust, lau- 
Ss reated and undraped r. Reverse and edge as above. Extremely fine, 
J 2. °  prilliant. 
326—Five Guineas, 1701. As last but the head larger and in higher relief. 
Uncirculated. Sharp impression. A minute flake in the planchet on the 
J , jaw bone, hardly perceptible. 
ANNE, 1701-1714 


327—Coronation. Official Medal which was distributed by the Treasurer of 

the Household at this event. Anne adopted the policy of William III in 

resisting the power of France and is therefore typified by Pallas wielding 

a the bolts of Jove. In addressing the Council on the day of William III’s 
death she declared she would carry out every preparation he had made. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


ANNA .D:G:MAG:BR:FR:ET. HIB . REGINA. Draped bust 1.  viczm 
GERIT . ILLA . TONANTIS. (She is the Vice Regent of the Thunderer.) 
Exergue INAVGVRAT xxuI AP. mMpccm (Crowned 23 April 1702). Anne 
as Pallas thunders against a double headed and four armed monster hold- 
ing clubs and stones and whose lower limbs terminate in snakes. Ex- 
tremely fine. Slight nick on edge. Size 22. 
328—Accession March 8, 1702. Obverse similar to last but bust crowned. 
i ENTIRELY ENGLISH, on an altar aTavis R1cIBvs (From Royal Ancestors, 
compare Horace Car. I.iJ.) heart entwined in oak and olive branches 
Ly crown above. In addressing the two Houses of Parliament on 11th 
March, 1702, the Queen declared “As I know my own heart to be entirely 
English I can very sincerely assure you there is not anything you can 
expect or desire from me which I shall not be ready to do for the happr- 
ness and prosperity of England.” Extremely fine. Size 22. 
329—F ive Guineas, 1705, before the Union with Scotland, 1701-1707. anna. 
DEI . GRATIA. Bust 1. EF} and edge as before. Fine but numerous minute 


4o nicks. Scarce. 
GEORGE I, 1714-1727 


330—Five Guineas, 1717. GEORGIVS . D. G. M. BR. PR. ET. HIB. REX. F. D. 
(Fidei Defensor—Defender of the Faith.) This title occurs for the first 
/ time on the coinage of George I, though it had been used on the Great 
FO : Seal since Henry VIII. Also the accession of the House of Brunswick 
caused a change in the royal arms and legend. Undraped bust r., lau- 
reated. Ki pRVNET .L. DVX$.R.1.4 :THET .ELI1717. (Brunsvicensis 
et Lunenburgensis Dux, Sacri Romani Impern Archi-Thesaurarius et 
Elector.) Four shields of arms divided by sceptres. Extremely fine. 
Scarce. 
y 331—Two Guineas, 1720. As above. Edge milled. Fine. 
F *332—Halt Guinea, 1726. As last. Fine. | 


4. vo GEORGE Il, 1727-1760 


333—Two Guineas, 1739. Grorcius . m1. DEI cratTia. Old bust of the King, 

laureated. EX} M. B. F. ET .H. EX. F. D. B. ET. L. D. §. Bela ee 

(Magnus Britannia, France and Hibernia Rex Fidei Defensor Brunsvicen- 

LT. sis et Lunenburgensis, Dux. Sacri Romani Imperu Archi Thesaurarius 
et Elector). Very fine. 


334—Two Guineas, 1740. As last. Very good. 


LS GEORGE III, 1760-1820 


335—Spade Guinea, 1791. Laureated bust r. Ei Spade-shaped shield. Ex- 
2 tremely fine. Very light scratch below bust. 


7: 


Evening Sale 


GEORGE IV, 1820-1830 


336—-Two Sovereigns, 1823, by Merlen and Pistrucct. GroRGIUS Il D : G : 
BRITANNIAR : REX F: D: Head 1. R St. George and the dragon. Ex- 


/} tremely fine. 
VICTORIA, 18387-1902 
337—Pattern Five Pounds, 1839. vicroriA D: G: BRITANNIARUM REGINA F: D: 
Head |. by Wyon. J piricir pEvs cressus MEos (Direct my steps, O 
6 God) Exergue Mpcccxxxtx. w.wyon R.A. The Queen as Una, directing 
o with her sceptre the British lion left. Plain edge. Brilliant proof, four 
faint scratches on obverse, hardly noticeable. Very rare. 


338—Sovereign and half Sovereign, 1839. Head 1. Hk Arms. Plain edge. 
Brilliant proofs. Two pieces. 


339—Half Sovereign, 1839. As last. Proof, slightly hairmarked. 


$$ GEORGE V, 1910- 
340—Five Pounds, 1911. Head1l. EK St. George and the dragon. Proof. 
3S. ANGLO-GALLIC 


EDWARD III, 1327-1377 


341—Guiennois. m.m. R. (Rochelle). ED. D. GRA REX ANGLIE DO AQviTAIE. King 
in armor walking r, sword and shield in hands, under a Gothic portico, at 
wae his feet two leopards couchant, guardant. TI} ciia : IN : EXCELISI : DEO : 
ET :IN : TERRA : PAX : Horus + (Glory be to God in the highest, and in 
Earth peace towards men). Tressure of arches encloses floriated cross ; 
in alternate angles lis and leopard. Extremely fine, sharp and even im- 
pression. Very rare. 


HENRY VI, 1422-1461. RESTORED 1470-1471 


342—Salute; named after the design of this coin. HENRICUS : DEI : GRA : 

FRANCORV :% : ANGLIE : REX. M.M. lion rampant. Angel saluting the 

Virgin, type of the Annunciation ; between them ave (Hail) below shields 

Ve of France and England. R xpc * vincrr * xpc * REGNAT * xPc * IMPERAT 

ih (Christ conquers, Christ reigns, Christ commands). Cross Calvary with- 
in arched tressure; at sides leopard and lis, below u. Uncirculated. 


FRANCE 


PHILIP IV, 1285-1314 


343—Masse d’Or. PHILLIPPVS : DEI : GRA : FRANCIORVM :_REX. King en- 
throned facing, crowned, sceptre in right hand, trefoil in left. Ti xpc . 


VINCIT . XPT . REGNAT XPc . IMPERAT (Christ conquers, Christ reigns, 
Ly Christ commands). Extremely fine, well and evenly struck. Rare. Hoff- 
man 4. 


PHILIP VI OF VALOIS, 1328-1350 
344—Lion d’Or. pH : DEI : GRA. FRANC : REX. King seated under a Gothic 
canopy, lion couchant at his feet. Ri Inscription as on last coin ; elaborate 
7 vie 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


floriated cross within four tressures, crown in each angle. Extremely 
fine, sharp beautiful specimen. Rare. 
345—Chaise d’Or. PHILIPPVS : DEI : GRA : FRANCORVM : REX : King en- 
a throned, facing, with sceptre in right hand and shield under his left. F& 
ype : As last. Uncirculated. Sharp, beautiful example. 
346—Franc-a-Pied. pHs . REX . FRAcoR. King crowned standing under a 
Gothic canopy, holds long spear. [i xpc etc., as before. Extremely fine. 


Ut JOHN Il, 1350-1364 


347—Royal d’Or. King, crowned stands under Gothic canopy. I0HES : DEI : 
GRA : FRANCORY. REX. J Similar to last, more ornate. Uncirculated. 


SOx Sharp, beautiful example. 


CHARLES V, 1364-1380 


348—Franc-a-pied. KAROLVS IMPERAT FRANCORV. REX. King standing under 
ss a Gothic throne; the field on either side filled with fleur-de-lis. i Simi- 
7 lar to last. Ex. fine. 


CHARLES VI, 1380-1422 


849—Eau d’Or. KAROLVS : DEI : GRACIA ! FRANCORVM : REX : Shield of 
France crowned. J Similar to last. Extremely fine. 


Jf ; LOUIS XII, 1498-1575 


350—Ecu au porcupine. LvDOVICVS . OC . FRANCOR : REX BRITORV . Cvs * 
Crowned arms, crowned darts at sides; Porcupine below. J pervs ete. 
sh Cross and crowned darts. Ex. fine. Hoffman 9. 


HENRY II, 1519-1559 
Huspanp oF CATHERINE DE Mepicr 1533 
351—KEcu, 1561. A remarkable error, as the King died in 1559! HuNRIcvs ti . 
D.G. FRANC . REX, Bust in armor. I} pvm . TOTVM . COMPLEAT . ORBEM 


iG Cross formed of H’s crowned, lis and crescents in angles; £ in center, 
Good. Light dents and scratches. Rare. 


CHARLES IX, 1560-1574 


352—Ecu, 1564. cCAROLVS VIII D.G. FRANC . REX. MDLxu * Arms crowned. 
£ i curistys etc. Floriated cross. m.m.a. Very fine. 


LOUIS XIII, 1610-1648 


353—Louis d’Or, 1640. tvp . xm. D.G. FR. ET. NAV. REX 1640. Laureated 

bust r. Ri crrs. rEGN. vINc. Imp. cHRs. (Christ reigns, conquers, domi- 

i nates.) Addorsed 1’s crowned from cross. a-Paris, m.m. Uncirculated, 
brilliant, beautiful example. 


Evening Sale 


LOUIS XIV, 1643-1715 


354—Rheims, 1654. Beautiful medal. tun. xmm. p.c. FR. ET. NAV. REX. CHRIS- 
Tianissimus. Youthful bust of the King r.; in rich robe and crowned. B 

Va SO SACRAT.AC. SALVT. REMIS . MAIL. xxxt. 1654. View of the City, Holy 
/- Dove descending with vase; at bottom rurmis. Extremely fine. Size 


1514. 
355—Louis d’Or, 1690. Lvp . xm D.c. FR. ET. NAV. REX. Head r. JF BEneE- 
yh DICTUS QUE VEENIT IN NOMINE DOMINE (Blessed is he who cometh in the 
name of the Lord). Uncirculated. 


356—Louis d’Or, 1715 over 1718. vp. xm. D.c. FR. ET. NAV. REX 1715 a- 
Paris. Old head laureated r. EK curs, etc., addorsed 1’s crowned, lis 


a], SO in angles. Sun in the center. Uncirculated, brilliant. 


LOUIS XV, 1715-1774 


357—Louis d’Or, 1747. Lup. xv. D.c. FR. ET. NA. RE. BD. Long bust 1, lily 

below. FE} curs. REGN. vINc. IMPER. 1747. Arms of France and Navarre 

g crowned, m.m. a cow. Uncirculated. Shows the planchet file marks 
across head. 


LOUIS XVI, 1774-1798 
3858—Louis d’Or, 1786. Lup. xvi. D.c. FR. ET NAV. REX. Head left. Fi Similar 
J: to last. m.m. aa. Very fine. 
359—Louis d’Or, 1787. As last. m.m.a. Uncirculated, brilliant. 
/'360—Double Louis d’Or, 1788. As last. m.m.x. Extremely fine. 


Dt: NAPOLEON I 
361—Medal. Bust 34 r.; of the early style similar to those on the medals of 
the Egyptian campaign. I} £. JULLIEN 12 RUE PASQUIER PaARis. Artis- 
f. tic. Extremely fine. Size 12, thick. 


362—Medal. Marriage with Marie Louise of Austria. Busts accolated of the 
v6 two. K Napoleon leading her to the altar. Uncirculated. Size 914. 

* 363—Twenty francs. an 12-1803. BONAPARTE PREMIER CONSUL. Head l1., on 
Tiolier. KK rePuBLIQUE FRANCAISE AN 12. 20 francs. mM.m. a. Ex- 
tremely fine. Scarce. 

364—Twenty Francs, 1807. NapoLEoN EMPEREUR. Head to left. R repus- 

LIQUE FRANCAISE 1807 20 Francs. m.m. A. Uncirculated. A superior 

Zs specimen of this celebrated “Straddle Coin.” On obverse he styles him- 
self Emperor but on the reverse it is the Republic of France! 


NAPOLEON III, 1852-1870 


365—Twenty-francs, 1860. NapPoLEoN m1 EMPEREUR. Head r. FE Empire 
ce FRANCAISE 20 rrANcsS 1860. Uncirculated. 
366—Five francs, 1864. Laureated head. Vg. Shank off edge.” 


V6 Je 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


HOLLAND 


367—Ducatoon, 1681. Struck in gold (about $25). HaNc TVEMVR HAC 
niTIMvR (This we defend, by this we strive). Liberty standing with 
liberty staff and cap, her left arm resting on a book on an altar. 
Joo. i Mo : NO : ARGENT : coMIT : HOLL. 1681. Arms crowned. Extremely 
fine, brilliant. Sharp and beautiful. Excessively rare, as it is stated 

that only three examples are known. 


LOUIS NAPOLEON, 1806-1810 


368—Ducat, 1809. LopEW Nap. kKoN vAN HOLL. Head |. Jt EENDRAGT MAAKT 
g mactT. Knight standing r. 1809. Extremely fine. 
; PROVINCES 


369—Dorprecut. Ducatoon, 1687. Struck in gold (about $25 weight). 
MO : NO : ARG : CONF : BELG : PRO : HOL. Knight in full armor, with 
JOE drawn sword on horse, galloping to r. Arms below. J} concorpia RES 
ahi PARVE CRESCUNT : (By concord small things increase). Arms of Hol- 
land supported by two lions. Extremely fine, brilliant and very rare. 
370—Dorprecut. Ducatoon, 1687. Struck in gold (about $25 weight). 
MO : ARG : PRO . CONFOE : BELG :c : HOL. M.M. full blown flower, and 
Na. So shield. Half length in armor, sword and holds out arms of Holland. 
i concorpra as last. Shield of Holland crowned. Extremely fine, bril- 
lant and very rare. 
371—GeLpERLAND. Philip II, 1556-1598, husband of Mary of England and 
BA King of Spain. pHs . D.G . HISP.. REX . Dvx . GEL. Arms crowned. 
oO. Ei poMINus MIOHI. ADIVLOR (God is my help). Bust of Philip r. Ducat. 
Good. Weak impression. 

372—Ho.uzanp. Stiver, 1724. Struck in gold. (Size of U.S. gold dollar.) 

b Arms crowned. 1s. Ei notztanpia 1724. Extremely fine. 
373-—-Hoxiianp. Stiver, 1788. Struck in gold. Slightly larger than a gold 
. dollar. Seven arrows—the Provinces. 1s. J} Hotvanpia 1738. Uncir- 
culated. 


z 374—Hoxitanp. As last but 2 stivers, so double the size. Uncirculated. 

7 Beller OA Philip II. Similar to lot 371 of Gelderland. Ducat. Good. 
'376—Urrecut. Stiver, struck in gold, 1738. Seven arrows. 1s. Ki Tratec- 
“§ © TUM ILTSS ee rool. 
377—West Fresta. Fourteen gulden, 1761 (about $7). BELG . weEsTF . 

MO . AUR : PRO : conFaD. Knight on horse galloping r. R concorpia 
JO. etc. Arms. 14 61. Very fine. 
378—Zratanp. 380 gulden, 1684 (about $15 gold). Lucror ET EMERGO. 
57, Fo (I shine and come forth). Knight standing with drawn sword defends 
; shield. Ro Mo . NO . AUR . ORDIN . ZEELANDLE 1684, Seven shields of 
arms bound together, 30 c. Extremely fine and very rare. 


Evening Sale 


o/9—Zworr. Ferdinand and Isabella? pucatvs .R .P.ZWOL. VAL... 

FERDI. Busts vis a vis s between. J} suB UMBRA ALARUM TUARUM (Pro- 

4 Tn tect me under the shadow of thy wings). LucTror ET EMERGO (I shine and 

oS i come forth). DoMINUS MIDHI ADIVTOR (God is my help). Arms. Ducat. 
Fair. Verkade pl 220.2. 


ITALY 


HUMBERT I, 1878-1900 


380—Twenty lire, 1882. umpBrrto 1 rE D’ratia 1882. Head l. B 1 20. 
7 Arms in wreath. Uncirculated. 


INDIA 
381—Kusnan Kine. Huvisuxa, A.D. 150-180. Bust of king to left in rich 
77 garment, diademed and nimbati, holds ear of corn and spear. J} moro. 
Sun god to left, radiate. Stater. Uncirculated. British Museum. 


Catalogue No. 44, plate XXVIII. 1. 
382—-Kusuan Kine. Vasu Deva. A.D. 180-220. King in rich dress, hel- 
J3 meted and nimbati standing left at an altar. Ei Siva standing, facing, at 
: side of a bull. Stater. Uncirculated. British Museum Catalogue 5. 
383—Kipara, Suaus or Nortu West Inpra. 5th and 6th centuries A.D. King 
SC _ standing. J Ardochso enthroned. Stater. Extremely fine. 
384—Mocut Emperor. Shah Jehan. Mohur with inscription on both sides 
in a central enclosure. Year 20—1056-1684 A.D. Beautiful uncircu- 
ZS§. lated condition. 
885—Mapras. Calcutta mint. George III. ENGLISH EAST INDIA COMPANY. 
Arms. J Persian inscription translated—‘Ashrafi of the Honorable 
J. English Company.” Mohur about 1818. Uncirculated. Small flake out 
on reverse. 
386—Eastr Inpvia Company. Surah Mint, 1825-1835. Mohur with native 


/O©. inscription on either side. Uncirculated. 

387—. I. cO. WILLIAM uml, KING 1835. Head r. I} Easr INDIA COMPANY TWO 

= monvurs. Prowling lion and palm. Milled edge. Brilliant proof. Very 
JO. vare. 

388—r. I. co. VICTORIA QUEEN 1841. Head 1. Bj as last. Mohur. Extremely 
JO. fine. 


389—nr. 1. co. VICTORIA QUEEN. Bust crowned and in rich dress to left. RB 
So Ornate border encloses FIVE RUPEES INDIA 1870. Brilliant proof. Milled 

/- edge. - 

390—nr. 1. co. As last but pearls around edge of crown instead of plain as 
b Se previous lot; larger too. 5 Rupees 1870. Brilliant proof. Rare. 

'39]1—-. 1. co. vicrorIA EMPREss. Bust in rich attire and crowned. Ht Ornate 
J). border encloses oNE MoHUR INDIA 1879. Extremely fine. 

392——Nepaut. Queen Samrajya Laksmi Devi. Characters on both sides, 
po Thin but diameter of a quarter eagle. Uncirculated. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


JAMES VI, 1567-1625. PROCLAIMED KING OF ENGLAND AS 
JAS. I, 1602-3 
411—Six Pounds or Sword and Sceptre piece, 1602. tacopvs.6.D.6.R. 
scoToRVM. Arms crowned. J saLvis . POPVILI . SVPREMA’. LEX . 


/ (The safety of the people is the supreme law). Sword and sceptre 
crossed, crown above; thistle heads at sides. Extremely fine. Well 
struck. 


412—Sovereign. m.m. Thistle. tacopvs . D . G . MAG . BRIT . FRAN . & . 
HIB . REX. Half length crowned and in armor r, with sword and Mund. 
Ji FACIAM . EOS . IN . GENTEM . vNAM (I will make them one nation. 
zekiel XX XVII:22). Very good, weakly struck but readable. This is 

the first time the term King of Great Britain is used on a coin. 


CHARLES I, 1625-1649 


4138—Unit by Briot. m.m. Thistle head and B . cAROLVs . D :G : MAG . BRITAN 

. FRAN . ET . HIB . REX. Half length crowned and in rich armor, sceptre 

and orbtor. Ki His. PRaHsvM . vr . PRosIM. (I am set over them, that I 

Ph. may be profitable to them). Elaborate shield crowned, cr at either side. 
A very fine specimen of this beautiful coin. 


JAMES VIII, PRETENDER 


414—Pattern Guinea, 1716. Restrike, as all are. IACcOBVS VIII . DEI . GRATIA. 

Laureated bust in armor, draped r. I} sco an . FRA ET . HIB REX 1716. 

Ce) a Cross formed of the arms of the four countries, sceptres divide; thistle in 
: center. Uncirculated, brilliant. Extremely rare. 


SWEDEN 
GUSTAVUS II, ADOLPHUS, 1611-1632 
Tue Hero or PROTESTANTISM IN THE THIRTY YEARS WAR 
Struck by the Municipality of Nuremberg, Germany. 
No ducats struck in Sweden during his reign. 
415—Ducat, 1632. GuSTAVVS ADOLP .D.G&S.vV.G. GOTH : VAND : REX : 
M.P.F.D.E.E.cC.1.D°. (Maximus Princeps Finlandiz Dux 
wee Esthonie et Carelie Ingermannie Domine). Laureated bust, in armor 
and cloak r., the portrait remarkably fine and expressive. Fi pvcatvs 
NOVVS . REGIS . SwEcIH= 1632 . H. Arms crowned. Very fine. 


OSCAR II, 1872- 
416—Five kronor, 1894. oscar It SVERIGES OCH NORGES KONUNG. 1894. Head 
by Lea Ahlborn. Fi xronor 5, in wreath. Uncirculated. 
2. SPAIN 
FERDINAND V AND ISABELLA I, 1474, 1504-1516 


Patrons of Columbus, and whose support enabled Christopher Columbus to 
discover America in 1492. 


Evening Sale 


417—Four ducats. FERNANDUS : ET : HELISABET : D : G : REX : ET : REGINA. 
Crowned busts vis a vis, a behind that of the Queen. Fi svsp : vMpra : 
ALARVM : TVARVM : PROTESE : NO . (Protect me under the shadow of thy 
bo wings). Eagle over crowned arms. Very fine. Well and evenly struck 
and one of the most interesting as well as historical of modern coins! 

Very rare of this fine work and size. 
418—Ducat of Ferdinand alone. FERDINANVS . D : G : REX. Crowned bust r., 
shield with lion on it behind head. F} cast Elie : aRA : COMES : B (Cas- 
tile, Aragon, Count of Barcelona). Arms crowned. Very fine. Short 


/O- light scratch in field before the face. Very rare. 


PHILIP V, 1700-1746 
419—Kight of a doubloon or $2, 1736. pump. vy .D .cG . HISPAN ETIND . 
rf REX. J} INITIUM SAPIENTI“2 TIMOR DOM (The fear of the Lord is the 
: beginning of wisdom). Arms crowned. Very fine. 


JOSEPH NAPOLEON, 1808-1813 


Eighty reales, 1813 ($4). tossEPH . NAP . D.G. HISP ETIND.R. 
1813. Head filleted]. Boinx . urrog . FELIX . AUSPICE . DEO (Success- 
JO. ful in both by the favor of God). Arms. 80r. Extremely fine. Rare. 


BARCELONA 
Necessity Coin, struck during the War with France, 1808-1814 


421—Twenty pesetas, 1812. Arms within a wreath of the deputation from 
JO Catalonia. FR en . pARcELONA 1813 20 pxEsreTas. Very fine. Rare. 


FERDINAND VII, 1808-1833 
422—Three hundred and twenty reales (about $16), 1822. FERN . 7° . Por 
LA G . DE DIos v LA const . 1822. Head r. J} rEy DE LAS ESPANAS. 


ay So Arms crowned within the chain of the Golden Fleece. 320 rs. at sides. 


420 


Very fine. Rare. 
ISABELLA II, 1833-1868 


423—Hundred reales, 1861 ($5). IsABEL 2A. POR LA G . DE DIOS Y LA COST . 
1861. Laureated and draped bust 1. Fi nema dE Las Espanas 100Rs. 


/ Arms crowned. Uncirculated. 


TURKEY 


4.24—Five hundred Piastres (about $25). Shield, arms of various kinds, etc., 
around floriated border with eight stars. J} Inscription and same bor- 
der. Very fine. Size 32. Has had a loop removed from edge. Very 


cee rare. 
WESTPHALIA 


JEROME NAPOLEON, 1806-1813 


Youngest brother of Napoleon I, who created the kingdom for him in 1806. 
Dismembered in 18138 an 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


425—Ten thalers, 1813. HiERoNyMus NapotEoN. Laureated head 1. F& 
z KOENIG VON WESTPHALEN FR. PR (Prince of France) x THALER 1813. B. 
oe) : Extremely fine, remarkably so for this coin. 


ANCIENT PRINCELY HOUSES 
BRABANT 
PHILIP THE GOOD, 1427-1467 


426—Ecu d’Or. Pus . DVX BURG , ELAB . Limp . zi. Half lengtheorsor 

Peter holding up the keys of Heaven and Hell; shield before hm. F& 

ee NOBISCUM - PAX - XPI - MANETT - SEMPER (May the peace of Christ remain 
with you for ever). Floriated Cross. Very fine. ‘Thomsen 3591. 


BURGUNDY 
ROBERT II, 1272 


427—Gold florin. ropertvs pvx. Lily as on the Florentine coins. Fs . 
IOHANNES . B. St. John standing. Extremely fine. 


4 FLANDERS 
LOUIS IIT LE MALE, 1346-1384 


428—Pavilion d’Or. Lvpovic DEI G . COMES DNS . FLAN DRI. : The Count, 
crowned, in armor and cloak with sword, stands under a Gothic portico, 
below FLANDERS. J} BENEDICTVS QUE VENIT : IN : HOMINE DOMINI 
/} (Blessed is he who cometh in the name of the Lord). Uncirculated. 
Sharp, even impression. A beautiful coin. 
429—Cavalier d’Or. LvpovIC : DEI . GRA . COMES Z DNS FLANDRIE. The 
Count in full armor, sword drawn, galloping left, his horse richly capari- 
JO soned. JF} xpc : VINCIT : XPC : REGNAT : xPpc : IMPERAT (Christ con- 
quers, Christ reigns, Christ commands). Floriated cross. Uncirculated. 
Splendid, even sharp impression. 
430—Mouton. AGN : DEI : QVI : TOL : PCCA : MVDI : MISERERE . Nos. (O Lamb 
of God; that takest away the sins of the world; have mercy upon us. 
John I, 29). Paschal lamb 1., m field. 1vp .c. Fr FX xPcwingree 
XPC : REGNAT . xpc : IMPERAT (Christ conquers, Christ reigns, Christ 
commands). Floriated cross, eagles in the angles. Uncirculated. Sharp 
even impression. 
431—Guent. Francois d’Alencon, 1554-1584? Noble in the style of the 
British coins of the period. Mo : AVREA . RESTAVR . METROPOI GAND . 
FLAND. Duke, crowned, in armor, sword drawn, shield in left hand, stand- 
/ i, ing in a ship. J NIsI . DNS. CVSTOD . CIVITAT . FRVSTRA . VIGILATVE 
82. Floriated cross, crowned lions in the angles. Uncirculated. Splen- 
did example. 


Evening Sale 


BRUNSWICK 
CARL II, 1815-1831 


482—Ten thaler, 1828. carn souv . HERZOG V. BRAUNSCH . U . LUENEB. 
Bust in costume 1. Ri zeHn THALER. Arms on crowned mantle. Very 
fine. Exceedingly rare, but few struck, it is said, and those intended for 
26 , presents, which opportunity he failed to embrace, and their very existence 
was unknown until his palace in the City of Brunswick was plundered and 

burned, Sept. 7, 1880, when a few were found. 


SWITZERLAND 


433—HetveTian Repusuic. Sixteen francs, 1800. HELVETISCHE REPUBLIK. 
Ancient warrior standing, holds flag. 8 (Berne). EK 16 rranxen 1800 
JO . in wreath. Proof. 


434—Twenty francs, 1873. Pattern by L. Wiener. Helvetia seated to l., 
Alps before her, oak stump behind; above 22 stars, below HELVETIA. 


we. Proof. Very rare. 


435—CantTon oF UNTERWALDEN. Ducat, 1787. BEAT . NICOL . DE FLUE 
PAR . HELY. St. Nicholas Von Flue in a hermit’s garb kneeling to right 
in attitude of prayer; he was born in Saxlen March 20, 1417; died 
/t: 1487. Through his exertions, in 1481, Freiburg and Solothurn joined 
the Confederation. He was canonized by Pope Clement IX in 1669. 
It has been said of him that he lived for twenty years with no other food 
than the bread of the Eucharist. EK wnarus a° 1417 opnr a®° 1487. 
XXI MARTY., between palms DUCAT . REI . PUB . SUB . ILV . SUPER 1787. 
Proof. Very rare. 


CUBA, CENTRAL AND SOUTH AMERICA 
| CUBA 


436—Twenty Pesos, 1915 ($20). parria y tipeRTAD 1915. 33 . 436.6 . 
900m. Head of General Martir. JK REPUBLICA DE CUBA VEINTE PESOS. 
2). Arms. Brilliant proof. 
437—Twenty Pesos, 1915. As last. Extremely fine, slightly abraded. 
2438 Twenty Pesos, 1915. As last. Extremely fine, obverse nicked. 
439—Four Pesos, 1915. As above. Brilliant proof. 
#440 Peso, 1915. As above. Brilliant proof. 
“441 —Peso, 1915. As last, same condition. 
jig Peso, 1915. As above. Uncirculated. ; 
443—Ten Pesos, 1916. Same design. Uncirculated, slightly chafed. 
(j44—-Ten Pesos, 1916. Same condition as last. 
94:45 Five Pesos, 1916. Same condition. 
446—Five Pesos, 1916. Same condition. 
*'447—Four Pesos, 1916. Brilliant proof. 


4.5? 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


448—Four Pesos, 1916. Uncirculated. 2 pieces. 
‘449-—Two Pesos, 1916. Brilliant proof. 

3 ‘450—Peso, 1916. Uncirculated. 

Z 451—Pesos, 1916. Uncirculated. Very fine. 2 pieces. 


4 


NOVA REGNA. Sante Fé de Bogota 
FERDINAND VII, 1808-1821 

452—Hight sueldos, 1817 ($16). FrRDND ym . D.G. HISP . ETIND.R. 

1817. Bust of his predecessor Charles tv as they did not have a picture 


Te to copy of the new king—rather slow—eleven years after his accession. 
fe Fi AUSPICE . DEO . IN . UTRO@ . FELIX. M.M. N.R. Arms. Very good, 


BRAZIL 
JOHN V, 1706-1750 


458—Joe, 1730 ($17). m.m. m-Minaes Geraes. IDANNES .V.D.G. PORT. 
ET . ALG . REx . 1730. Laureated bust r. F} Arms. Extremely fine. 


d]: Scarce. 
MARIA I AND PETER III, 1777-1786 


454—Half Joe, 1783. Rio mint. mMaRIA .1. ET . PERUS . I .D.G. PORT 
. ET . ALG . REGES . 1783. Busts accolated r. Fi Arms. Extremely 


i bs fine. 
JOHN VI, 1818-1822 
455—Half Joe, 1824. sJoANNES . VI. D.G. PORT . BRASIL . ET . ALG . REX 
oo 1824. Bust, laureated and draped r. FR Arms. Extremely fine. 
456—Four thousand reis, 1825. Rio mint. PETRUS .1.D.G. CONST. IMP. 
ET . PERP . BRAS . DEB . 1825. Bust in uniform 1. JF 1 Hoc steno 
£/. So vinces (By this sign we conquer). 4000. Arms. Extremely fine. Very 
rare. 


CHILE 


457—Hight Escudos, 1836 ($16). Santiago mint. REPUBLICA DE CHILE 1836. 
Arms. J} 1GUALDAD ANTE LA LEI. 8—E .1. 5 . 21es (Equality before 
24 the laws). Book—constitution—hand laid upon it, rays above. Ex- 
ad. 
tremely fine. Scarce. 
458—Twenty Pesos, 1908 ($10). Santiago mint. REPUBLICA DE CHILE. 
Bust of neat female 1. by Roty. Ti vernre pesos 1908. Arms. Very 
‘). fine. 
Jc 


COSTA RICA 


459-—Half escudo, 1847 ($1). REPUB . DEL CENT . DE AMERICA 1847. Sun 
— and mountain peaks. HjLiprE crEzcA FEcCUNDO Cc .Rk. J. bk. ‘Tree. 
Z -/¥ Uncirculated. 


Evening Sale 


460—Escudo, 1848. Same design. Extremely fine. 


'461—Escudo, 1849. Same design. Counterstamped HABILITADA POR EL GO- 
BIERNO, lion—all letters do not show. Fine. 


Z 


462—Escudo, 1851. RrErPuBLIcA DE costa ricA 1851. Arms. FE america 
3 CENTRAL. Indian Queen rests on pedestal. 15 pEsETE pE 1821 below 
lz. Extremely fine. 


ECUADOR 
463—Ten Sucres, 1899 ($5). REPUBLICA DEL EcUADOR 1899. Head of Pres. 
ne %} Arms, etc. The Birmingham issue. Uncirculated. 
MEXICO 
464—Cob Money. So clipped that only ex shows. Arms. KR -+. About 
So $2 gold value. 
a REPUBLIC 


465—-Escudo, 1831 ($2). mo. REPUBLICA MEXICANA. Eagle. JT) La 1ipeRTAD 
EN LA LEy (Liberty and the law.) Hand on Constitution. Ex fine. 


466—Escudo, 1862. Guanaxuato mint. Type as last. Extremely fine. 


ae EMPIRE 
Under Austrian Archduke Ferdinand Maximilian, 1864-1867 (shot at 
Queretaro, June 19, 1867) 
467-—Twenty Pesos, 1866. maximr~rANo EMPERADOR. Head r. J} 1MpPErio 
MEXICANO. 20 pesos 1866 mo. Very fine. Two small dents on edge. 


eos 
REPUBLIC 
468—Ten Pesos, 1871. Guanaxvuato mint. REPUBLICA MEXICANA 1871. 
Eagle on a cactus. J Liberty cap. Scales of Justice scroll rey (law). 
eke Extremely fine. 
469—Peso, 1894. Mo. Eagle. Extremely fine. 


/: UNITED STATES OF MEXICO 
4.70-—Five Pesos, 1906 ($214). EsTADos uUNtDos MExIcANos. Eagle. cinco 
2, Pesos 1906. Head 1. Uncirculated. 
471—Twenty Pesos, 1917 ($10). EsTADOS UNIDOS MEXICANOS 1917. Eagle 
devouring snake, standing on a cactus. I} vEINTE PESOS 15 Gr. ORO PURO 
JO- (Pure gold) (while the U. S. gold coins have 10% alloy). The great 
stone. Uncirculated. : 
472—Dos Pesos, 1920 ($1). Eagle. Uncirculated. 


v9 NEW GUATEMALA 
473—Half Escudo, 1825. REPUB. DEL. CENT. DE AMER. 1825. Sun and 
mountains. J} LIBRE CRESCA FEC. M.M. N. G. Tree. Very fine. Shows 


oe planchet file marks badly on both sides. 


Kindly read the Conditions wnder which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


PERU 
FERDINAND VI, 1746-1759 


474—Fight Escudos, 1751 ($16). Lima mint. FERND . VI. D. G . HISPAN . 

ET IND . REX. 1751. Bust in armor r. [F INITIUM SAPIENTIE TIMOR 

Di 2 pomini. Monogram tmar twice. Arms, Chain of the Golden Fleece. 
Very fine. 


UNITED STATES COINS 
FIFTY DOLLARS 


475—1915. $50. Panama-Pacific Commemoration issue. Struck at San 
Francisco, California. UNITED . STATES . OF . AMERICA . FIFTY DOLLARS. 
Head of Minerva 1., above in the field. tn cop we TrusT; on part of shield 
y/ be over left shoulder mM. c.m.x.v (1915). Ei Panama-pPaciric . Ex- 
POSITION . SAN FRANCISCO. Owl on a pine branch, in the field. — pLURIBUS 

unum. Rownd. Edge milled. Uncirculated. 


476—1915. $50. Octagon. Same design as above. Uncirculated. 


Ay fake TWENTY DOLLARS 


477—1871. $20. Head of liberty left, 13 stars and date. s. 8. u (Longacre, 
the designer at U. S. Mint) on truncation of the head. Kt unrrep sTatTrEs 
55 So OF AMERICA TWENTY D, Eagle, with sunburst above enclosing rn Gop WE 
: trust. Extremely fine; very slight abrasion on the obverse. 
478—1907. $20. St. Gaudens design. Liberty standing with torch and olive 
branch, the Capitol in the background, from which emanate rays; above 
an uBpERTy below mcmvu. Around edge forty-three stars. J} unrrep . 
STATES . OF . AMERICA . TWENTY . DoLLARS. Eagle flying left, rays in 
background. Wire edge. Uncirculated. 
479—1907. $20. As last. Very slight abrasion in the field. 
26489 1907. $20. As last. Very slight abrasion in the field. 
26481—1907. $20. As last. Same beautiful condition. 
28 482—1907. $20. As last and equally fine. 
27 483—1907. $20. Same design but with rounded edge. Uncirculated. 


23. TEN DOLLARS 


484—1795. $10. urserry. Beautiful head of liberty with Phrygian Cap, r.; 
five stars before and ten behind it; below 1795. EK unirep staTEs or 
Ue AMERICA. Eagle, with olive wreath in his beak standing on a palm 
branch. Uncirculated. Mint lustre. Sharp beautiful specimen and one 

of the finest known. The first U. S. Gold Coin! 
485—1799. $10. urpertry. Bust of liberty wearing Phrygian Cap to right; 
16 five stars before and eight behind it. Below 1799. i unirep sratzs oF 


Evening Sale 


AMERICA. Heraldic eagle with thirteen stars around his head, motto & 
PLURIBUS UNUM on ribbon in beak, arrows and olive branch in talons. 
Very fine. 


486—1801. $10. Same design as last. Extremely fine. Mint lustre. 


eee FIVE DOLLARS 
487. 1798. $5. Close date, with die cracked below it. Ei Large eagle. 


2h Fine. 
fe. $5. Small stars. Fine. 


‘489—1800. $5. Large stars. Very good. 
ep ic08 $5. Over 1802 as all are, Fine, 
/§-491—1805. $5. Very fine. Very light bruise on edge. 
/é 4921806. $5. Blunt 6 with six stars before bust and seven behind it. 
J 2° Slight dent on the edge. Very fine. 
493—1806. $5. Same variety. Very fine, but lower edge shows the file 
JO. marks in the planchet, not seriously marring the coin. 
494—1807. $5. Bust right. Die broken over T in UNITED on reverse. 
SO. Very fine, but has been rubbed with an eraser. 
495—1808. $5. Bust to left. Very fine but has been damaged by same 
d/h. means as last. 
496—1808. $5. Fine. 
497—1810. $5. Large date. Very fine, but has been rubbed with an eraser. 
/A98—1811. $5. Very fine. 
/$499—1812. $5. Extremely fine. 
Af 500—1813. $5. Extremely fine. 
/8501—1813. $5. Very fine, but has been rubbed with an eraser. 
73 502—1834. $5. Plain 4. No motto over eagle. Fine. 
4 503—1844. ¢5. New Orleans mint. Fine. 
425041901. $5. Very fine. 
505—1906. $5. Brilliant proof. Desirable condition. 
£ 506—1909. $5. Very fine. 


THREE DOLLARS 
507—1854. $3. New Orleans mint. Very good. Faint dent in field. 

Fé —1866. $3. Extremely fine. 

O509—1866. $3. Very fine. 2 pieces. 
/é 5101879. $3. Uncirculated. Mint lustre. 
//’511—1879. $3. Extremely fine. 
/2°512—1881. $3. Extremely fine. Rare. 

Deg $3. Fine. Very faint scratch on obverse. 

Vy Mi 


Kindly read the Conditions wnder which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


QUARTER EAGLES OR $214 


514—1798. $214. Extremely fine, but shows some microscopic nicks almost 
imperceptible to the natural eye. Sharp, even impression. One of the 
/ 20. finest known examples of this extremely rare coin. 
515—1805. $214. Fine. Feb. 1861 very lightly pin scratched in field before 
29 face. 
516—1806. $214. Over 1804. Five stars before the face. As usual the 
GO. center is not fully struck up. Very fine. Very rare. 
— 517—1898. $214. Proof, slightly abraded. 
~° “518—1915. $214. Panama-Pacific commemorative issue. UNITED STATES 
oF AMERICA 214 pot., defiant eagle on a sign post inscribed. & . PLURI- 
ee Bus . uNUM. J} PANAMA-PACIFIC EXPOSITION 1915. Columbia on a sea 
horse. Uncirculated. Rare. 


DOLLARS 
519—1874. $1. Extremely fine. 
520—1883. $1. Uncirculated. 
521—1889. $1. Last year of the regular coinage. Uncirculated. 
522—1903. $1. Commemorating the purchase of the Louisiana tract from 
- the French by Thomas Jefferson, 1803. UuNrrED sTATES OF AMERICA. 
TA. Bust of Jefferson 1. KE LovutsIanNa PURCHASE EXPOSITION ST. LOUIS ONE 
poLLAR 18038-1903. Same design but with bust of President William 
McKinley who was President on the 100th anniversary. Uncirculated. 
2 pieces. 


523—1904. $1. Lewis and Clark Expedition to the Far West, commemora- 

tive issue. UNITED STATES OF AMERICA ONE DOLLAR. Bust l. FE Lewis- 

Ve CLARK EXPOSITION PORTLAND, ORE. 1904. Bust J. Extremely fine. 
Scarce. 


524-1915. $1. Commemorating the Panama-Pacific Opening. unNiTED 
STATES OF AMERICA 1915. Head of Labor to whose efforts the Panama 
4. “oO Canal became a reality. J} PANAMA PACIFIC EXPOSITION SAN FRANCISCO 
ONE DOLLAR, two dolphins indicating the meeting of the Atlantic and the 

Pacific. Uncirculated. 


525—1915. $1. As last. Two pieces. 


Tee © 
vas HALF DOLLAR 
526—1915. $14. Panama-Pacific Commemorative issue. PANAMA-PACIFIC 
EXPosITION 1915. Columbia and infant. Ki unirep sTaTEs OF AMERICA. 
ff. HALF DOLLAR. Eagle standing on U. S. shield, oak and olive branch 


at the sides, 1x GoD wE TRUST above. Uncirculated. Scarce. 


Evening Sale 


HALF CENTS 
527—1804. toc. Crossed 4, tongue out variety. i Ends to stems. Plain 
/ 4. I No ends to stems. Good. 2 pieces. 
PATTERN COINS 


o2e-1879,o4o0rStella.* 6 *6* .3*s5* .7*c* 7 * e@* ep * a * 
mM * s * 1879 = Six parts gold, three silver, seven copper, seven grams. 
Head of liberty 1., diadem inscribed 1t1pErty. FE unrrep sTatTEs OF 
VOS . AMERICA FOUR DOL. Star inscribed oNE sTELLA 400 cENTs, between the 
points E PLURIBUS UNUM — DEO Est GLorIA. Uncirculated. Slight proof 
surface. Very rare. 
529-—-1879. $4. As last. Extremely fine. 
Tf 5380—1879. Dollars. Goloid-Metric and Metric. Very fine. 2 pieces. 


is MEDALS COMMEMORATING OUR MARTYR PRESIDENTS 
531—Lincotn-GarFietp. Fine head on either side. Brillant proof. Gold 
JO. value $9. Size 16. 
532—Lincotn-GarFieitp. As last but smaller, gold value about $2.50. Bril- 
Pee uant proof, Size 12. 


oouk 


PRIVATE, PIONEER AND ASSAYERS’ COINS 
NORTH CAROLINA. RUTHERFORDTON 
C. BECHTLER 

53838—(1834). $5. c. BECHTLER, ASSAYER. * RUTHERFORD couNnTY. J} NorTH 
y) CAROLINA comp . * 5 potztars 20 . carats . 150 . G . (grains). 

10: Border of dots, edge milled. Very fine. Excessively rare. 
534—(1834). $5. c : BECHTLER . AT RUTHERF : * 5 poLiars. J cErorcia 
Gory . 22 carats , in center 128 .¢@.* . Very fing Rare. It is my 
As. belief that the czoreia on this coin is to denote its being made of gold 

brought from or found in that State. 


A. BECHTLER 
5385—(1834). $5. Aa . BECHTLER . RUTHERFORD . * 5 pouuars. i caro- 
aD) © rrNA GOLD 21 carats 184 . ¢ : Extremely fine. 
5386—(1841?). $1. a . BEcHTLER . * 1 pou : BR carorina corp 21 .c., 
27 .c. Extremely fine, unbent but has a very hght X on rev. 


CALIFORNIA 
KELLOGG & CO. SAN FRANCISCO 
587—1855. $20. Type of U. S. regular coinage with different inscription. 
Head of liberty 1., KELLOGG & co. on diadem; 13 stars and 1855. J} san 
Uae FRANCISCO CALIFORNIA TWENTY D. Eagle, ete. Good. Considerably 


nicked. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


AUGUSTUS HUMBERT, U. S. ASSAYER, SAN FRANCISCO 


588—1851. $50. unrrep sTaTEs or AMERICA 50 pc Eagle with three arrows 
in talon supports U. 8. shield, while in his beak a ribbon inscribed 
LIBERTY, above on label 880 rHovs. Border plain. EK Engine turned, 

without the 50 punched in the center. Edge, aucustUs HUMBERT UNITED 

4 62 STATES ASSAYER OF GOLD CALIFORNIA 1851. Octagonal. Extremely fine, 

brilliant, sharp even impression with only the most trifling defects which 
are, two pin point pricks in obverse field; a minute test cut on edge just 
after the date, two almost invisible hair line scratches hardly noticeable 
by the natural eye. One of, if not the finest known example of this 
very rare variety with plain border on obverse, and name and date on 
the edge—this too has a peculiarity I have not before noticed—i.e.—the 
word HUMBERT is inverted, indicating the edge was lettered by hand. A 
gem ! 
5389—1851. $50. Same design as last but the aucusTus HUMBERT UNITED 
STATES ASSAYER OF GOLD CALIFORNIA 1851 is on the face of the coin; the 
NS edge being milled. 887 rHovs on scroll. Octagonal. Very good. Nicks 
say and one corner bruised. 
540—1851. $50. Same as last. Very good. Two corners bruised, numerous 
/6o. “minute nicks. Octagonal. 
541—1852. $10. unirED sTATES OF AMERICA TEN DoLs. . Eagle as on above. 
884 THovs on label. HE Engine turned with tablet across center; on 
23 which AUGUSTUS HUMBERT UNITED STATES ASSAYER OF GOLD CALIFORNIA. 
1852. Very good. 


MOFFAT & CO. SAN FRANCISCO 


542—1849. $5. Type of regular U. S. coinage but Morrar & co on the dia- 
dem; around 13 stars and 1849. J s. m. v. CALIFORNIA GOLD FIVE DOL. 
/6. Eagle. (S. M. V=Standard Mint value). Good. 


543—1850. $5. As last but eagle of coarse work and die broken under o1 of 
pout. Small edge dent. Good. 


f 3 COLORADO 
CLARK GRUBER & CO. DENVER 


544—1860. $10. pikes PEAK GoLD TEN p. View of Pikes Peak, beneath which 


SA So is DENVER, place of mintage. Fs crark crupEer x co 1860. Eagle. 
VA : Minute pin point nick in field. Extremely fine. Very rare. 


Ys 545—1860. $10. Same as last. Very fine. Very rare. 
546—1860. $10. Same as last. Very fine but has been abused, having four- 


small corroded spots near edge on obverse; light pin scratches over eagle 
28. and subjected to a rubbing with an eraser. 


547—1861. $10. Type U.S. regular coinage. prxes prax on diadem. J 
2) CLARK GRUBER & CO : DENVER * TEN Dp. Fine. 


Evening Sale 


548—1861. $5. Same design as last. Very fine. Has a scraped spot in 
te the field before the eye. 


549—1861. $214. Same design as last. Good. Nick on edge. 


UTAH 
COINAGE OF THE MORMONS AT SALT LAKE CITY 


550—1849. $5. To THE LorD HoLINEss. Eye of Providence with a Bishop’s 

Pemmeireaboveit. Ha.s-t.c.vr.cé. (Great Salt Lake City Pure 

us . Gold) Frve . pouuars. Clasped hands, 1849 below. Fine. Small dent 
on center of obverse and little nick in center of reverse. Rare. 

551—1860. $5. Holiness to the Lord in the Mormon characters. 1860. Re- 

cumbent lion to left. i pEsERET AssAy OFFICE PURE GoLD 5. pv. Defiant 

js. eagle standing behind a bee hive, holds olive branch in right talon, three 

: arrows in left. Extremely fine. Very rare. 


ALASKA, BRITISH COLUMBIA, ETC. 


552—Arasxa, 1898. One Pinch. 1900 14 Pinch, 1909 14 dwt. Miner. British 
Columbia 1912 dollar size. California 1856 Oct. dollar size. 1852 14 
3 size, round. All modern jewelers fakes. Uncirculated. 6 pieces. 


CANADA 


553—Sovereign, 1908. Edward VII. Type of regular British coin but minted 
in Canada, c on truncation of ground under St. George. Uncirculated, 
.%© prilliant. Very rare. 


554—Teen Dollars, 1912. George V. Bust crowned and in royal robes]. KB 
JO: CANADA TEN DOLLARS 1912. Shield within maple wreath. Very fine. 


555—Five dollars, 1912. As last. Extremely fine. 


6 °° 


Mie 


SECOND AFTERNOON'S SALE 


TUESDAY, MARCH 6, 1923 


IN THE ASSEMBLY HALL 


OF 


THE AMERICAN ART GALLERIES 


BEGINNING AT 2.15 O'CLOCK 


Catalogue Numbers 556 to 769, inclusive 


EARLY ROMAN, EGYPTIAN AND ALEXANDRIAN GLASS 


556—Pair Smatt Brack Moxipep Jars Roman, Second Century A.D. 


a: With handles. 
We : Height, 134 inches. 


557—SMALL Jar Egyptian, Ptolemaic Period 
Si Black ground with yellow markings. 
J g.%e Height, 11%, inches. 
558—Smatu Bowr Egyptian, Ptolemaic Period 
With black ground, decorated with white and red zigzag bands. 
ee Height, 2 inches. 
559—Roman Tortet Botrie Roman Provincial, Second Century A.D. 
DS. In imitation of stone; iridescent. 


H eight, 2 inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


560—BorrLe iy Onyx Ware Roman, First Century A.D. 


Js Lapis-lazuli, with lighter blue markings. 
Height, 31/4, inches. 


561—Smatu Jue Roman, about Third Century A.D. 
Y With body molded in divided rib pattern. Good iridescence. 

Oo: Height, 31% inches. 

562—Borttie witH Hexaconat Bopy Palestine, Third Century A.D. 


The sides decorated with molded patterns in relief. 
20. Height, 31 inches. 
563—SmaLu Borrue with Brack Neck Aanp Base 

Egyptian, Ptolemaic Period 


£5 The body decorated with black and green dragged bands, and lines on 


yellow ground. 
Height, 31 inches. 


564—SmatuL Brown Botrie Roman, First Century A.D. 
In onyx ware; black surface, with rings and bands in shades of brown. 
. Height, 4 inches. 
/bo (Illustrated) 
565—Deerr Disu Roman, First Century A.D. 
Of dark blue glass with light blue markings. 
4o. Diameter, 21/, inches. 
(Illustrated) 
566—CyuinpricaLt Box Alexandrian, First Century A.D. 
With lid in bright blue with light markings. 
4 | Height, 33, inches. 
& (Illustrated) 
567—Smautut Deep Disu Roman, First Century A.D. 
In bluish-gray and blue; iridescent. . 
4e Diameter, 234 inches. 
(Illustrated) 
568—Onyrx BotTrTLEe Roman, First Century A.D. 


A In brown with markings in lighter tint. 
Oo. Height, 334 inches. 


(Illustrated) 


565 567 


566 


564 3 568 


Roman anp ALEXANDRIAN GLAss OF THE First Century A.D. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


569—Mi.ueFior1 Cur Early Imperial Roman 
vo With gray and light blue the preponderating tones. 


Diameter, 334 inches. 


570—Mi.ueFior1 Cup Roman, First Century A.D. 
With alabaster tone. 

Bo q Diameter, 334, inches. 

571—BorrTLeE In Onyx WARE Roman, First Century A.D. 


fo Blue ground with light irregular flourishes in pale blue. 
: Height, 514, inches. 


(Illustrated) 
572—Onyx Ware BottTiE Roman, First Century A.D. 
In deep brown, with lighter brown markings; iridescent. 
} O. Height, 5 inches. 
(Illustrated) 
573—Toiter Botte Roman, First Century A.D. 


With light spiral thread design on brown ground. 
Height, 3%/, inches. 


. (Illustrated) 

574—Roman Borrie Roman, First Century A.D. 
In imitation of striped agate. 

HO Height, 5 inches. 

, (Illustrated) 
575—BortritE or Onyx Ware 1nN BLvE Roman, First Century A.D. 

_. With decoration in light blue to white drag lines. 

J A) Height, 51% inches. 

; (Illustrated) 
576—Tortrer Jue Roman, Second Century A.D. 


ue With extended lip; iridescent. 


Height, 33/4, inches. 


572 574 


573 


571 575 


Roman Guass or THE First Century A.D. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


577—Cur witu InverTep Cur Base 
a Roman Provincial, Second Century A.D. 
Toy Decorated with wide black threads in relief. Brilliant iridescence. 
Height, 334 inches. 


578—ARYBALLOS Roman, Second Century A.D. 
bo In brilliant green ; iridescent. Height and diameter, each 83, inches. 


579--Briack Rinc-sHAPED PERFUME BoTTLeE 
Egyptian, Twenty-second to Thirtieth Dynasty 
200 - Decorated with white dragged bands; rings for suspension. 
(Illustrated) 


Height, 6%, inches; diameter, 3°/, inches. 


580—Smatt Moxpep GRoovep JAR Roman, Second Century A.D. 
50 In onyx ware; red ground wtih black markings. 
3 (Illustrated) Height, 1%, inches. 
581—AMPULLA Egyptian, Ptolemaic Period 
Black ground, with yellow and green decoration. 
Oo. 
(Illustrated) 
Height, 3%, inches. 
582—AMPULLA Egyptian, Twenty-second to Thirtieth Dynasty 
Black ground, decorated with yellow bands, and green and yellow drag 
4 . markings. 
(Illustrated) 
Height, 3 inches. 
583—Smatt Moipep Groovep Jar Roman, Second Century A.D. 
In green. 
0. (Illustrated) 
Height, 2 inches. 
584—Buver Guass Borris Roman Provincial, Fourth Century A.D. 
Lb O With square body; iridescent. Height, 83/, inches. 


585—Smatu Brack Borris 
Egyptian, Twenty-second to Thirtieth Dynasty 


J, lon With spiral white band and thread, and the body with white drag pat- 
tern. Height, 334 inches. 


583 


580 


582 


581 


Eeyprian AND Roman Gtass 


Kindly read the Conditions wnder which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


586—Smatut Jue Roman Provincial, about Fourth Century A.D. 


IS In light glass; iridescent. 
Height, 3°, inches. 


587—-Drer Disu Roman, Second Century A.D. 
Blue-gray. 
20. Diameter, 31/, inches. 


588—Bottite 1x Onyx Ware Roman, First Century A.D. 


Deep blue ground with light blue markings. 
3/0 . Height, 31% inches. 


589— ALABASTRON Egyptian, Nineteenth to Twenty-first Dynasty 
Decorated above with yellow bands on black; center with yellow and 
/3.0 _ green zigzag; and below with yellow and green bands. Loops for sus- 


pension. 
(Illustrated) 
Height, 6 inches. 
590— ALABASTRON Egyptian, Twenty-second to Thirtieth Dynasty 
Decorated with white zigzag bands on brown ground. Loops for sus- 
4 pension. 
Height, 31/, inches. 
(Illustrated) 
591—ALABASTRON Egyptian, Twenty-second to Thirtieth Dynasty 


With light feather pattern closely worked on black ground. 
IS Height, 81, inches. 


(Illustrated) 
592— ALABASTRON Egyptian, Twenty-second to Thirtieth Dynasty 
With white ground, decorated with zigzag markings. Loops for sus- 
4o pension. 
' Height, 4 inches. 
(Illustrated) 
593—AMPULLA Egyptian, Twenty-second to Thirtieth Dynasty 


In green glass with red surface; the neck decorated with spiral white 
170. thread and black bands; body with white and black drag pattern, and 
base with white and black bands. Slightly iridescent. 


Height, 6 inches. 
(Illustrated) 


RAN hoe § 
Se i Se 


i Sal 


593 


592 


591 


590 


589 


Eayprian GLAss FROM THE TWENTY-SECOND TO THE Tuirtietu Dynasty 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


594—Roman Cup Roman, First Century A.D. 
TS: White. Diameter, 31/, inches. 
595—Roman Bown Roman, Third Century A.D. 
3 Ue In iridescent brown glass. Height, 3, inches. 
596—Smatut Botte Roman Provincial, Fourth Century A.D. 
I? o With button decoration. Height, 34/, inches. 


597—Bow.u with Four Hanpues anp Turret FEEt 
30 Roman Provincial (Danube), Third Century A.D. 


Decorated with pinched points in relief; iridescent. 


Height, 31, inches; diameter, 314 inches. 


598—VasE Roman Provincial (Rhine), Third Century A.D, 
SO. With serpentine decoration in relief. Height, 4 inches. 
599—BottTite in Onyx Ware Roman, First Century A.D. 
3 < Bright blue ground with shaded blue markings. " Height, 4 inches. 
600—AMPULLA Egyptian, Twenty-second to Thirtieth Dynasty 
4y Decorated with narrow bands, and irregular zigzag markings in yellow, 
* blue and green. Height, 4 inches. 
601—MitierFior1 Cup Early Imperial Roman 
5 With black and red tones. Diameter, 4 inches. 


602—Torter Botrte Roman Provincial, Third or Fourth Century A.D. 


50 Decorated with crossed zigzag threads in relief. Fine iridescence. 


Height, 4 inches. 


603—BortLte 1n Onyx WARE Roman, Early Imperial 
Z 0 Dark blue with light blue spiral bands and threads. Height, 4 inches. 
604—Mitueriori Cup Roman, First Century A.D. 


3 A O With black and variegated tones. Dtameter, 4 inches. 


Second Afternoon 


605 


605—-Mixieriorr Cup Early Imperial Roman 
22 a With preponderating tones purple and red. 


Diameter, 4 inches. 


606—Mitirrior1 Cur Early Imperial Roman 
$e 8 With red the preponderating tone of the mosaic work. 


Diameter, 381% inches. 


607—Mi.ueFiori Cup Early Imperial Roman 
is 7 a With blue and green tones. 


Diameter, 334, inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


608—Two Does, a4 Lion anp Two Hawrs Egyptian, about Saite Period 
NINO. In ancient glass. 


609—SmaLu STATUETTE OF A WoMAN AND A SmauL Heap 
Egyptian, about Twenty-second Dynasty 


2O- Both in stone. The first in mummy form. 


610—Smartt Wuire OpaauE Bortie Syrian, about Third Century A.D. 
In imitation of stone; hexagonal body, the sides decorated with molded 
Ko. heads. 
Height, 3%, inches. 
611—NEcKLACE 
re Of mosaic glass beads alternating with chalcedony beads. 


612—Ancient NECKLACE 


A55 Of cut crystal and red beads. 


613—NEcKLACE 
b. Of blue and gold beads with nine pendants of vase models in ancient 
.) Egyptian varied colored glass. 


614—NEcKLACE 
Of ancient Egyptian variegated beads of iridescent glass. With six 
AS pendants of model vases. 


615—NEcKLACE 
b Of ancient Egyptian mosaic glass beads, alternating with chalcedony and 


40. gold beads. 


Lh 
616—Smatt WuitEe Opaque BotTLte Syrian, About Third Century A.D. 


— In imitation of stone. Hexagonal body, the sides decorated with molded 


heads. 
Height, 34, inches. 


620—AMPULLA Roman Provincial, Third Century A.D. 


As In imitation of white stone; handles of light blue. 
: Height, 41/4, inches. 


621—Licut Biue AmPuLia Roman, First Century A.D. 


With stone surface. 
/S- Height, 414, inches. 


Second Afternoon 


622—SLENDER GREEN Grass. VASE Roman, First Century A.D. 
With dark blue surface, decorated with divided rib pattern, and inlaid 

Z YO * white and red bars. Height, 4% inches. 
623—PrrrumMe Lape Alexandrian, Early Imperial 
S50 cn With tube handle; very fine iridescence. Length, 41 inches. 


624—Lone Necx Fuask 1x Deer Buvur 
Roman Provincial, Second Century A.D. 


/S- With fine iridescence. Height, 43, inches. 
625—Toi1Let BotTLe Roman Provincial, Second Century A.D. 
1s Green glass. Height, 434 inches. 
626—Licut Grass Juc Roman, Fourth Century A.D. 
age Slightly iridescent. Height, AY, inches. 
627—BorrLe with Hexaconat Bopy Syrian, Third Century A.D. 


The sides with molded decorations. Brilliant iridescence. 
4-0 Height, 414 inches. 


628—Vasr 1n Licut Guass Alexandrian, First Century A.D. 
_ Decorated with blue ribbon and spiral threads; rings for suspension. 

a ‘ ‘ Height, 5 inches. 

629—VaseE 1n Piatn Guass Roman, First Century A.D. 

/$0 With bright iridescence. Height, 5 inches. 

630—Toiter BorrLe Egyptian, Second Century A.D. 

Black ground, decorated with yellow bands on neck, and heavy feather 

40. pattern in same color on body. Height, 5 inches. 


631-—-AmpuLLa witH WuitTEe GrouND 
Egyptian, Twenty-second to Thirtieth Dynasty 


6 &. Decorated with white drag lines on black, and zigzag markings. 
Height, 5 inches. 


632—Two-HANDLED F.LAsk Roman, about Second Century A.D. 
we - With fine iridescence. Height, 514 inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


633—Darx Guass Friasx Alexandrian, Third Century A.D. 


With black enamel surface. Decorated with molded scroll and diaper 
2 ©. designs; white threads in relief on the neck. Loops for suspension. 


Height, 5%, inches, 


634—Tor1Let Jue Roman, Second Century A.D. 
o With extended lip; iridescent. 
Rare Height, 51, inches. 
635—-Roman Bow. Roman, about Third Century A.D. 
With brilliant iridescence. 
D380 ° Diameter, 51/ inches. 


636—BortrtrLe witH SLENDER NEcK 
Roman Provincial, Second Century A.D. 


/OO . In brown glass; iridescent. 
Height, 51 inches. 


637—CriEar Guass SEcTIONAL BoTTLe Roman, Fourth Century A.D. 
4 O ; Height, 51%, inches. 
638—Bortie in Licut Guass Roman Provincial, Fourth Century A.D. 


ple Slightly iridescent. 

: Height, 51% inches. 

639—Beti-SHarepd Borrie Alexandrian, Second Century A.D. 
So In deep reddish brown glass, with blue surface. Fine iridescence. 

Height, 514, inches. 

640—AMPULLA Egyptian, Ptolemaic Period 


y fp Decorated with a delicate feather pattern, and having the surface decom- 


posed to a brilliant iridescent green. 
Height, 5% inches. 


641—Buve Exuirsomw Frasx 
Roman Provincial, about Second Century A.D. 


JS * With short, narrow neck; iridescent. 
Height, 614, inches. 
642—Roman Jue Roman Provincial, Fourth Century A.D. 


With rich blue ground; iridescent. 
ESE Height, 7 inches. 


Second Afternoon 


643—Batsam FLasxk Alexandrian, about Second Century A.D. 


In deep red glass with black enamel surface. On each side a molded mask 
J 20. in relief. 
Height, 7 inches. 
644—Jue with Hexaconat Bopy Syrian, Third Century A.D. 
J 7 O The sides molded with geometrical designs. Fine iridescence. 


Height, 7%, inches. 


645—Licur Borris Roman Provincial, Third Century A.D. 


Fo Blue handle and ribbon decoration. 
: Height, 71, inches. 


646—Licut Guass BotrrTue Roman Provincial, Third Century A.D. 


2 With long neck, decorated with blue and brown spiral threads in relief. 
% Height, 7 inches. 


647—AmMPULLA Alexandrian, First Century A.D. 
x In blue glass; iridescent. 
OF Height, 8 inches. 


648—Fuask SuHaprep as A ComposiTE ANIMAL 
Roman Provincial, Third Century A.D. 
15 0. Bull’s head; body of fish; flat tail, and four small feet. 


Length, 8 inches; height, 31% inches. 


649—PaTERA Roman, First Century A.D. 
ie In clear glass with bright iridescence. 
Oo. Diameter, 81% inches. 
650—Prrrume Howuper or TEar-BoTTLE SHAPE 
Egyptian, Ptolemaic Period 
ae In light blue glass, decorated with sunken white threads. 
Height, 81% inches. 


651—ALABASTRON Egyptian, Twenty-second to Thirtieth Dynasty 

The neck decorated with spiral yellow band; the body with yellowish 

J 4 Q-. drag pattern tinged here and there with red; and the base with white 
bands. Slight iridescence. 

Height, 914, inches. 


652—Horn Frask | Gaul, about Third Century A.D. 


q With bright iridescence. ; 
O : Length, 91% inches. 


eg SES St Lek 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


RARE FAIENCES, MINIATURES AND BRONZES 


Purchased largely from the collections of Mr. Thomas B. Clarke and Mr. 
J. Pierpont Morgan of New York, Messrs. Kouchakji Fréres of New York 
and Paris, Mr. C. Filippo of Italy, Messrs. Emile Tabbagh & Company of 
New York and Paris, and Messrs. C. & E. Canessa of New York and Paris. 


653—Perrsian Prar-sHapepD VasE Seventeenth Century 

With short foot, raised shoulder and short trumpet neck. Shoulder 

a white, the remainder glazed in a soft and vaporous sky-blue, with a floral 
band encircling the body etched in white reserve. 

Height, 5 inches. 

654—Perrsian Lustre Borris Fifteenth Century 


JO. 


Globular, broadly expanded from a short foot to a cylindrical and © 
fluted band and rounding to a short and small neck (with metal lip). 
Decoration, varied flower and leaf sprays in copper lustre on a ground 
of rich white. 


Height, 51/4, inches. 
From the Tabbagh Collection, New York. 


655—Raxxa PircHEer Ninth Century 


£5. 


Pear-shape on a spreading foot, with short, wide neck and loop handle, 
on which a thumb-button is modeled in low relief. Entirely coated with 
a creamy and silvery iridescence, over a glaze conjecturally, from occa- 
sional outcropping hints, of blue-green with black ornamentation. 


Height, 5 inches. 


656—Raxxa PircHEer Ninth Century 


we 


Broad pear-shape on a bold foot; short cylindrical neck and loop handle. 
Turquoise glaze with scroll decoration in black. The greater part of 


the surface a mass of rich and brilliant iridescence. 
Height, 5% inches. 


657—Raxka PiTrcHER Twelfth Century 


4 


JO. 


Pear-shape on spreading foot, with wide neck slightly contracting, and 
recurving loop handle. Brilliant white glaze, with real or simulated 
Arabic inscription in blue around the body, overlaid by a scroll in black. 


Height, 534, inches. 
From the Tabbagh Collection, New York. 


Second Afternoon 


658—Perrstan Pottery PircHEer Siateenth Century 
Ovoid on a bold foot, with short and slightly contracting neck, cup-lip 

es and pinched spout, and recurving loop handle. Turquoise-green glaze, 
/ crackled, stopping in a welter short of the foot, and bearing an eccentric 
decoration of scroll and leaf motives painted in black. Height, 6 inches. 


From the Tabbagh Collection, New York. 


659—Raxxa Lustrep Jar Ninth Century 
Nearly cylindrical, contracting slightly from a broad base above a bold 

To but withdrawn foot, and finishing with a narrow flaring rim. Cream 
glaze, decorated in brown lustre with an inscription on a ground of 
vermiculate scrolls. Patches of pearly iridescence. Diameter, 61/, inches. 


From the Tabbagh Collection, New York. 


660—Ruacrs Porrery Mortar anp PESTLE Twelfth Century 
Mortar cylindrical with molded lip and foot, and two pierced handles 

J4; below the lip. Exterior studded wtih diamond and half-diamond bosses 
Ce ay high relief. Glazed in rich turquoise-blue of moderate brilliancy and 
lightly crackled, the same glaze coating the septagonal pestle. Unique 

and interesting example. Diameter, 61/ inches. 


661—Ruacrs Decorated Bow. Thirteenth Century 


Ovoid on bold foot. Pale yellow and brownish decorations of varied 
a JO and confused scroll designs, both boldly drawn and lightly penciled, on 


a cream glaze showing a light crackle. (Repaired.) Diameter, 7 inches. 


From the Filippo Collection, New York, 1918. 


662—SvurtanasaDd Bow. Twelfth Century 
Ovoidal expanding from a short foot, and contracting slightly at top 

to a short upright lip. Peacock-blue glaze, with a stellate decoration 

So , in black in the interior, the alternate rays penciled with single columns 
of bold scroll on plain ground and a less vigorous serpentine scroll on 

stippled ground. Borders on exterior and interior and panels on the 

exterior. Numerous areas of silvery iridescence. Diameter, 7 inches. 


From the Canessa Collection, New York. 


663—Raxxa VaAsE Ninth Century 
Broad pear-shape on a short foot, with abrupt and wide mouth. Cream 
50 glaze, decorated in lustrous brown with bands and vermicular scrolls, 


and the scrolled ground traversed by Arabic characters in a soft blue. 
Delicate frostings of an incipient iridescence. Diameter, 114, inches. 


Kindly read the Conditions wnder which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


664—Ruacrs Bow. Twelfth Century 
Ovoid with a delicate lip, and on the exterior a light molding under it; 
low, spreading foot. At bottom of interior an equestrian figure, which 
2 #0 is six times repeated about the sides, in turquoise, russet, gray and black 
: on an ivory glaze, the side figures within enclosures involving floral 
scrolls and the endless knot. Around the exterior a Cufic band. 


From the Tabbagh Collection, New York. Diameter, Si inches. 


665—Perstan (Kirman) Jar Siateenth Century 


Cylindrical, with withdrawn foot lightly spreading, short contracting 
/§ neck and everted lip. Monochrome glaze of brilliant turquoise-blue. 


From the Tabbagh Collection, New York. Height, 8 inches. 


666—Svutranasap Bown Twelfth Century 


Ovoidal on a bold foot, the upper sides rounding in slightly to a short 
lip. Gray-white glaze, crackled, the exterior ringed in brown and car- 
rying a band of bold diaper in deep blue. In the interior, fan-shaped 
i 30 : panels with floral ornamentation in two shades of blue, in brown and 
in white reserve, the stellate arms separating them being in rich lapis- 


blue. Soft silvery iridescence. Diameter, 11/, inches. 


From the Canessa Collection, New York. 


Second Afternoon 


667—Ruacrs Bown Twelfth Century 


Ovoidal on a low and slightly spreading foot. Delicate structure, with 

32 glaze of soft creamy-white. On edge of rim a tongue border and below 
7) this an animalistic segmental border. The rest of the decoration, occu- 
pying the cavetto, includes an equestrian at the centre, four sphinxes 

and four scroll devices, painted in blue and black and red-brown and 


gold. Around the exterior a cursive border. 
Diameter, 8 inches. 


668—Ruopian PircHer Stateenth Century 


Pear shape with spreading foot and full expanding neck and recurving 
is hase loop handle. White glaze, decorated in turquoise-green and lapis-blue, 
and rich copper-red enamel, with growing shrubbery and swaying tulips. 


Height, 81/4, inches. 


669—SvutTanaBapd Bow. Thirteenth Century 

Flaring from a deep and slightly spreading foot, and contracting 

s ey abruptly and very slightly to a wide mouth. Green-blue crackled glaze 
with simple decorations in black. Silvery iridescence. (Restored.) 


Diameter, 814 inches. 


From the Filippo Collection, New York, 1918. 


Kindly read the Conditions wnder which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


670—Ruacres Rosk Water SprinkLER Twelfth Century 


bo. 


Pear shape with slender and tapering neck. Lattice, floral and endless- 
knot decoration in two bands and eight panels, executed in brown, tur- 


quoise and gray on a cream-white ground. 
Height, 81% inches. 


671—Raxxa Bown Ninth Century 


La 


Inverted bell shape, flaring, on a deep foot unglazed. Both interior and 
exterior of bowl glazed in greenish turquoise-blue, the interior finely 
penciled in rich black with medallions and scrolls of highly formal design. 
Areas of iridescence on the exterior. Rim rolled inward and upward on 


one side of the bowl. (Restorations at rim.) 
Diameter, 8 inches. 


672—Ruopian PircHER Sieteenth Century 


Al0, 


Pear shape with full expanding neck and recurving loop handle, on a bold 
foot. Decorated with sprigs of flowers swaying in graceful curves, every 
other one done in deep lapis-blue, the alternates executed in green with 


touches of copper enamel. 
Height, 81/4, inches. 


From the Thomas B. Clarke Collection, New York. 


Second Afternoon 


673—Ruopian PircHEer Sixteenth Century 
Pear shape with short foot, full neck with molded lp, and recurving loop 

240 handle. Cream-white ground, both neck and body encircled by bands 
of graceful floral scroll in deep blue, the blossoms heightened with copper 


enamel and lightly touched with green. 
Height, 8 inches. 


674—Ruopiran Puiate Sixteenth Century 
Polyfoliate medallions outlined in green on a greenish-white ground 

DD: enclose vermicular scrolls in black, which encompass primitive blossom 
forms touched with red enamel. Diameter, 91/, inches. 


From the Tabbagh Collection, New York. 


675—Raxka Bown Ninth Century 
Coniform, flaring broadly; deep unglazed foot. Creamy and greenish- 
3 Le white glaze, decorated in brown lustre with scrolls, conventional floral 


forms and simulated inscriptions, the interior sides divided into panels 
by four strokes in a pale lapis-blue. (Restored.) 


Diameter, 91, inches. 

676—Ruopian PircHErR Sixteenth Century 

_ Pear shape on a low, spreading foot, the neck wide and lightly expand- 

/$o ing; recurving loop handle. Cream-white glaze, with a decoration of 
‘ tulips and other flowers springing upward to different heights and in 
sinuous lines, one set of the flowers adorning the body and another set 

the neck. They appear in a soft green, lapis-blue, and copper enamel. 


From the Tabbagh Collection, New York. Height, 83, inches. 


Kindly read the Conditions wnder_which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


677—Raxka VASE Ninth Century 
Inverted pear shape on convex foot, with short cylindrical neck and 

HM 0. lightly expanding molded lip. Turquoise glaze, with a simple decora- 
tion of black diagonal broad stripes, and ring borders, the greater part 

of the surface now encrusted with a silvery, golden and fiery iridescence. 


Height, 83/, inches. 


678—Grarco-Roman VAsE Second Century B.C. 


Slightly ovoidal contracting to a low foot and a full cylindrical neck 

with lightly everted lip; two angular loop handles. Incised decoration 

= of crude design, with rings encircling the shoulder, and about the handles 
200. roundels in relief, under a turquoise-blue glaze iridescent and bearing 


grayish earthy attachments. 
Height, 934 inches. 
From the Tabbagh Collection, New York. 


679—Kuorassan Botrie-ForM VASE Stateenth Century 


Globular with spreading foot and wide cylindrical neck and molded lip, 

b §. the neck polygonal and the body modeled in accord. Brilliant turquoise- 
2 blue glaze, with a body border of foliate medallions in relief and orna- 
mented with flower sprays in polychrome, and a pendent border in relief 


below the lip. (Restored.) 
Height, 91% inches. 
From the Filippo Collection, New York, 1918. 


Second Afternoon 


680—Raxxa VasE Ninth Century 
Inverted pear shape with convex foot, and short cylindrical neck expand- 

3 /o. ing in a heavily molded lip. Glaze of greenish turquoise-blue with con- 
ventional floral scroll decoration in black, the glaze ceasing well above 

é the foot. Nearly all of the surface converted to a brilliant iridescence. 


Height, 914, inches. 


681—Raxxa Bow. Twelfth Century 


xe Oviform cavetto and flattened rim, on a short foot. White glaze, 
Jo: crackled. Decorated with four rings, below the rim, two in a rich 


emerald-green and two in a soft lapis-blue. 
Diameter, 934 inches. 


From the Tabbagh Collection, New York. 


682—Grarco-Roman VasE _ First Century B.C. 
Ovoidal body of graceful proportions, on a spreading foot; wide neck 
V/s @. very slightly incurvate, and boldly flanged lip. Two broad loop handles. 
Below the handles incised palm leaves, the decoration being continued 
in vertical incisions around the body. Lustrous greenish-turquoise glaze, 

with light grayish earthy incrustations and hints of iridescence. 


Height, 12 inches. 


Kindly read the Conditions wnder which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


683—Ruopian PircHer Sixteenth Century 
Pear shape with full neck and large recurving loop handle, on a bold 
200 cylindrical foot. Brilliant white glaze, with a decoration on both body 
and neck of tulips blossoming in lapis-blue between green leaves, up- 
springing from simple borders, and alternating sprays of other flowers 

in blue and green enhanced by touches of copper enamel. 


From the Thomas B. Clarke Collection, New York. Height, 8’, inches. 


684—Ispanan Wine Borrie Siateenth Century 
Broad arched form with the two faces flat, sides and rounded shoulder 
i bulbous, bulbous neck and flat foot. Greenish-turquoise glaze. On 
a4 0 obverse a girl dancing before a prince, and on reverse a musician, mod- 
eled in relief, and on the rest of the body a primitively designed deco- 

ration incised and modeled in the paste, beneath the glaze. 


From the Filippo Collection, New York, 1918. Height, 9, inches. 


685—Ruopian Fracon - Siateenth Century 
Cylindrical with bracket handle. Rich cream-white glaze broadly and 

lightly crackled. Decoration, large and smaller foliated medallions, 

40, themselves carrying floral and conventional ornamentation, in emerald- 
green and lapis-blue and in copper enamel, with the cream reserve, while 
intervening spaces bear small and detached four-petal blossoms in 

emerald. Height, 8%/, inches. 


From the Thomas B. Clarke Collection, New York. 


Second Afternoon 


686—Ruopian FLacon Sixteenth Century 

Cylindrical with bracket handle. Brilliant white ground decorated with 

nn __ serolled floral figures and medallions in turquoise-green and grayish lapis- 
blue, and rich copper enamel. Floral borders at lip and base. 


Height, 81/, inches. 
From the Thomas B. Clarke Collection, New York, 1917. 


687—Ruopian PircHer Sixteenth Century 

Pear shape on a bold foot, with full neck lightly expanding and a 

recurving loop handle. 'Turquoise-green imbrications outlined in black, 

a : on a sort of matt surface of varying white, this decoration interrupted 

by trefoils outlined in black and spotted with green, and by reserved 
pomegranate medallions each bearing three copper enamel pellets. 


Height, 81/, inches. 


From the Thomas B. Clarke Collection, New York, 1917. 


688—Ruop1an PircHer Sivteenth Century 
Globular on spreading foot, with wide neck lightly expanding and 

recurving loop handle. Lapis-blue imbricated ground with sparse 

S/O. emerald accents, interrupted by pomegranate reserves of creamy white 


pelleted in red enamel. 
Height, 8 inches. 


From the Tabbagh Collection, New York. 


689—Kurais PrrcHEer Sixteenth Century 
Oviform, with full, short neck, lightly expanding, and loop handle, 

Jo - twisted. Brilliant peacock-blue glaze, and a finely distributed decoration 
of leafless tree forms penciled in black. Two simple borders of similar 


execution. 
Height, 8%, inches. 


From the Kouchakji Collection, New York. 


690—Raxka VASE Ninth Century 


Inverted pear shape with convex foot, and short neck lightly expanding. 
Green glaze, with a simple and conventional geometrical decoration in 
LOO 


black, largely obscured by an iridescence of sunset splendor and patches 


of light grayish earthy incrustation. ; ; 
Height, 8%, inches. 


Kindly read the Conditions wnder which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


691—Raxxa Bown Numth Century 


Ovoidal cavetto with a flat and flaring rim, on a bold foot. Glaze of 

rich greenish turquoise-blue, with crackle and brilliance, decorated in a 

VED . fine black with simulated inscriptions on a spotted ground, divided into 

three panels or compartments surrounding a small central medallion. 
(Repaired. ) 

Diameter, 10%, inches. 


(Illustrated ) 


692—Raxxa Bow Ninth Century 

Flat and flaring rim embracing a semi-globular cavetto; low foot. Tur- 

quoise glaze. Decoration in rich black. On the rim a border of small 

oS. detached leaf forms, at bottom of cavetto a small conventional floral 
; medallion, and between these a band of conventional floral scroll, inter- 
rupted by seven oval medallions simply stroked with crude pointed leaf 


forms. Areas of golden iridescence. 
y Diameter, 1014, inches. 


(Illustrated ) 


693—-Raxxa Bown Ninth Century 
Broadly coniform, flaring from a deep cylindrical unglazed foot. Rich 

//O.  green-blue brilliant glaze, penciled in black with Arabic imscriptions in 
a band around the interior and a medallion at the bottom. Patches of 


iridescence. (Repaired.) 
Diameter, 914 inches. 


(Illustrated ) 


RARE SPECIMENS OF RAKKA FAIENCE 


Second Afternoon 


694—Ruopian Friacon Sixteenth Century 


Cylindrical, with bracket handle. Luminous glaze of soft grayish lapis- 
lazuli blue, interrupted by a bold and highly conventional floral display 
/2 at ; reserved in a cream-white and enriched with touches of copper-red 
enamel and deep emerald-green. The display is of liliform, lanceolate 


and serrated leaves and numerous quatrefoil blossoms. 
Height, 934 inches. 
From the Tabbagh Collection, New York. 


695—Ruopian Prats Siateenth Century 


Deep cavetto with narrow flaring rim. Decoration, stems of tulips 
branching in pairs, four of the large blossoms being seen in lapis-blue, 
ZO oO. with touches of red enamel, above green leaves. The inner pair of stems 
are spanned by a trefoil figure resembling the Chinese sceptre-head. 
Rim border of overlapping blossoms reserved in white in a blue ground 


and touched with red enamel. 
Diameter, 111% inches. 


From the Tabbagh Collection, New York. 


696—Spaniso Derp Puiate Sixteenth Century 
Ovoidal on low foot. Cream glaze, with enameled decoration in deep 
oo blue; within the rim a border of grape clusters, and at bottom of cavetto 


a medallion in vine and leaf motive with basketry border. 


Diameter, 1014 inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


697—Ruopian PuatTe Sixteenth Century 
Ovoidal cavetto with narrow flaring rim, the rim showing a cheyron 


enamel. In the cavetto a peacock, with a single tulip and sprays of 


240 border with half-blossoms, in blue, black and green, touched with red 


other flowers, in similar colors. Diameter, 1184, inches. 


698—Raxxa InxstTanp Ninth Century 
Oblong, on four short circular and molded legs, the top pierced by two 

orifices each two and three-quarters inches in diameter. Decoration in 

3 cavo-relievo, on the two faces scrolls of floral derivation and inscriptions 
/$ Oe invoking Allah, on the ends balustraded panels, and on top scrolls. 
Turquoise glaze with traces of black ornamentation, almost the entire 

surface now covered by silvery and golden iridescence. Said to have 

been exhumed from ruins of the palace of Haroun-al-Raschid, at his 

favorite abode, Rakka. Height, 8 inches; length, 11 inches; width, 6 inches. 


From the Tabbagh Collection, New York. 


Second Afternoon 


699—Ruopian Puate Sixteenth Century 


Ovoidal with flaring rim, the rim decorated with a border of vermiculate 
scrolls in blue, interrupted by S-scroll reserves. Within the cavetto a 
er . medallion of brilliant emerald ground, bearing the figures of a dog, a 
hare and an antelope, of birds, reserved in white and touched with 


copper enamel. 
Diameter, 12 inches. 


From the Tabbagh Collection, New York. 


700—Kovusatcua PLATE Stateenth Century 

Shallow with expanding rim. Turquoise-blue glaze, brilliant, and 

ses broadly crackled, painted in brilliant black with a crudely naturalistic 

VO ; floral decoration in the cavetto, within an outline medallion, and on the 
rim with a floral scroll border, the cavetto sides being left plain. 


Diameter, 1114 inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


701—PerrsIAN QUADRILATERAL BorrTLE Sixteenth Century 


Rounded shoulder and short neck with lightly molded lip. Brilliant 
Vi kow glaze, with equestrian figures, floral sprays and ovate leaf designs in 
green, cobalt-blue and auwbergine-brown on a white ground. 


| Height, 101% inches. 


From the Tabbagh Collection, New York. 


702—Ruopian PuatTe Siateenth Century 
Shallow ovoidal form. An emerald festooning outlined in black encom- 

5 passes a lapis-blue medallion, which is decorated with six stems of flowers 
4 : issuing from a common base, the flowers and stems reserved in white 


with the leaves touched in in green and the blossoms centred by drops 
of red enamel. 


Diameter, 114% inches. 


From the Tabbagh Collection, New York. 


703—Ruopian PLATE Sixteenth Century 


In the deep cavetto a boldly executed floral medallion gracefully 

30 designed, displaying details in emerald-green and white reserve in a 
cobalt-blue ground, with heightening of red enamel. On the narrow 
flaring rim a coarse diaper of vermicular scrolls. 


Diameter, 113, inches. 


From the Tabbagh Collection, New York. 


Second Afternoon 


704—Perrstan PiTcHER Sixteenth Century 

Globular body, with a tall conical neck broadly expanding, and very 

slightly contracting to a short upright lip. Loop handle (and three 

fo smaller loop handles) from lower neck to shoulder. Brilliant white glaze 
with floral decoration in cobalt-blue and brown. 


Height, 1134 inches. 
From the Tabbagh Collection, New York. 


705-—Ruopian PLATE Siateenth Century 


Deep cavetto, with flaring rim having a festooned edge. Within the 
cavetto four flower clusters and as many highly conventional floral 
S, ae o figures, surrounding a floral medallion, executed in copper color, green 
‘ and dark blue, on a white ground. Rim bordered with scrolls vermiculées 
in black embraced in blue and variously arranged. 


Diameter, 1134 inches. 


From the Tabbagh Collection, New York. 


706—-Boxuara PLATE Seventeenth Century 


Shallow cavetto with conventional foliations and cross-hatchings in blue 
“ AG and brown on white ground. Rim with checkered border in white and blue. 
Diameter, 12 inches. 


From the Tabbagh Collection, New York. 


707—Grarco-Roman VasE First Century B.C. 

Ovoidal on a lightly spreading foot; cylindrical neck with heavily molded 

He lip; two loop handles with bolt-heads in low relief. Simple decoration 

J O crudely incised on body and shoulder, and below the shoulder a girdle of 
thumb-pressed discs in relief, beneath a turquoise glaze of deep tone. 


Height, 12 inches. 


From the Tabbagh Collection, New York. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


708—Ruopian PLATE Stateenth Century 
x0 Shallow ovoidal cavetto with narrow flaring rim, the rim bordered with 
}f overlapping blossoms. In the cavetto a lapis-blue medallion bordered 


by green arched panels, the lapis ground of the medallion interrupted 
by tulips, carnations and a palmette reserved in white and heightened 


by coral enamel, and relieved by touches of green. 
Diameter, 12 inches. 


From the Thomas B. Clarke Collection, New York. 


(Illustrated) 


709—Ruopian Borrie-rorm Vase Sixteenth Century 

Globular on convex foot, with neck tapering to a bulbous midband, and 

ie above this lightly expanding. Lustrous glaze of soft white, with deco- 

/ HH LO, rations in cobalt-blue, turquoise-green, a coppery-red enamel and gilding, 
exhibiting carnations, hyacinths, tulips and other floral forms. On the 


neck a paneled band. Minor borders in black. 
Height, 1534 inches. 
From the Charles Mannheim Collection. 


From the Thomas B. Clarke Collection, New York. 
From the Tabbagh Collection, New York. 


From the Canessa Collection, New York. 


(Illustrated) 


710—Ruopian PLATE Stvteenth Century 

Shallow and ovoidal, and wearing a lustrous glaze of soft creamy-white. 

Rich floral decoration in emerald-green and lapis-blue, with red and 

0 black overglaze enamels. Two long and sinuous serrate leaves in blue 

H} Wa ; and green branch from a low green liliform growth and embrace four 
red roses issuing from a jar, while two more of the roses bend below 


them. Narrow border of formal floral design. 
Diameter, 12 inches. 


From the Filippo Collection, New York, 1918. 


(Illustrated) 


TINAIV] NVIGOHY 40 sNaWIDaag AUVY 


602 


Second Afternoon 


711—Ruopian PLate Sixteenth Century 


ay Ovoidal cavetto and flaring rim. In the cavetto a cluster of ten blos- 

dO, soms on their stems is within the embrace of two long and scrolling 
serrated leaves, which spring from between two tulips and are them- 
selves paralleled by sprays of blossoms, the whole executed in lapis-blue, 
rich green, and glistening copper-red enamel on a white ground. 


Diameter, 1214 inches. 


712—Ruopian PLate Sixteenth Century 
Deep cavetto with palmette and floral spray decoration in cobalt and 
S 0). emerald in underglaze on a white ground, and accented in dull red enamel 


relief. Border in accord. Diameter, 12 inches. 


713—Boxuara PLATE Seventeenth Century 
Oviform with slightly upeurling rim. Below a rim border of circlets 
reserved in white in a blue ground, the whole interior is given to a variety 

LE O. of highly conventional floral designs in the same coloring. 


Diameter, 12 inches. 


714—Kovusatcua PuatTE Saiteenth Century 

A broad and open lattice of palmate design on the rim extends down 

a 0 the cavetto sides to a medallion of double-rings, which enclose a con- 
" ventional growth of flowers springing from a common base and spreading 
toward the rings, the ornamentation being in black on turquoise and the 

glaze brilliant. Diameter, 10/, inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


715—Ruopian Prate Sixteenth Century 


DI A. Deep cavetto, and flaring rim with festooned edge. Within the cavetto 
a display of four tulips and a like number of roses, with intermingling 
leaves and stems, boldly executed in greenish turquoise-blue, grayish 
lapis-blue, and copper-red enamel. Rim bordered with black vermicu- 
late scrolls and ornamental white reserves in a blue ground. 


Diameter, 1234 inches. 


716—Ruopian PLare Sixteenth Century 


Shallow cavetto and rolling rim. Principal decoration the standing 
-— figure of a man facing the observer, his right arm akimbo with hand 
5 oo resting at hilt of his dagger, which is stuck in his belt, and left hand 
. raised above his shoulder and holding a tulip. He wears an emerald 
coat and red trousers and hat. At either side palmettes in lapis and 

emerald, flanked by sprays of blossoms in copper enamel. 


From the Tabbagh Collection, New York. Diameter, 12% tnches. 
717—Damascus PuLaTE Sixteenth Century 
Ovoidal cavetto with flaring rim. White glaze, decorated in two tones 

= 0 of blue with floral scrolls, arched figures, and at centre a medallion. 


From the Filippo Collection, New York, 1918. Diameter, 11 inches. 


Second Afternoon 


718—Boxuara Pirate Seventeenth Century 


ganese on a cream-white crackled ground, and at either side are long 
leaf designs, two of which take the appearance of curved knives with 
pointed blades. Wide lattice border in green, and a simple narrow 
border in blue. Diameter, 121/, inches. 


From the Thomas B. Clarke Collection, New York. 


LO A covered ewer of hour-glass pattern is executed in deep blue and man- 


719—Ruopian Pate Sixteenth Century 


Shallow cavetto with flaring rim. On the rim, braces of tulip sprays 
“). ety in copper enamel, green and black, alternating with blossom medallions 

in dark blue and green. In the cavetto a foliated medallion in lapis-blue 

outlined in green, and adorned with flower sprays in white reserve. 


Diameter, 1214, inches. 


From the Tabbagh Collection, New York. 3 


720—Hispano-Moresaut PLaaue Sixteenth Century 


modeled as the petals of a flower. Decoration in copper lustre and 
turquoise-blue, on a cream ground, following and emphasizing the petals 
and ornamenting them with floral and vermiculate scrolls. - 


om 5 Small and shallow cavetto with a bald umbo, and broad flaring rim 
id 


Diameter, 121/, inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


WS 


an -S 


4 


5, 
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“ 
So 


721—Boxuara Prats Seventeenth Century 


xe 


Flaring rim and shallow ovoidal cavetto. White glaze, crackled, painted 
in blue and brown with crude geometrical and floral designs in concentric 


medallions and borders. 
Diameter, 13 inches. 


722—Boxnara PiatE Seventeenth Century 


120: 


Ovoidal, recurving in the expanding rim. At centre a stellate medallion 
from which spring four ovate leaf figures, the spandrels between them 
occupied by scrolls and the whole executed in lapis-blue, emerald-green 


and manganese. Chevron and checkered borders. 
Diameter, 12%, inches. 


From the Tabbagh Collection, New York. 


723—Boxnara PxLatTe Seventeenth Century 


50. 


Cavetto centred by a dice medallion from which spring four leaf pat- 
terns, the intervening spaces decorated with scrolls and crude blossom 
designs, the whole in rich blue, vivid green and manganese-brown on a 
white ground. Rim with checkerboard border in blue and white. 


Diameter, 1234 inches. 


From the Tabbagh Collection, New York. 


Second Afternoon 


724—Kovurnatrcua PLATE 


Sixteenth Century 


lightly crackled. An open lattice of wavy lines enclosing florets extends 
over rim and cavetto sides to a large double-ringed medallion. Within 
this a sinuous tree and flowering shrubs at its foot appear, the decora- 


tion throughout being in turquoise and black with red and wan yellow 
enamels. 


Shallow and flaring, both surfaces encased in a creamy-white glaze 


Diameter, 131% inches. 


From the Tabbagh Collection, New York. 


725—Boxuara PLate Seventeenth Century 


Shallow ovoidal form, the spreading rim recurving. Rim border of 

freely executed checkered design in rich lapis-blue, cream-white and 

130 manganese. In the cavetto the same colors are used with the addition 
. of a rich emerald, in the execution of various scrolls, medallions and leaf 
designs. 


From the Tabbagh Collection, New York. 


Diameter, 13 inches. 


726—KovsarcHa PuLate ~  Sivteenth Century 


Ovoidal cavetto with flaring rim. Brilliant glaze of greenish turquoise- 

blue heavily crackled. Decoration in black with manganese touches, 

| 46 on the rim a floral scroll border, and in the cavetto a large floral medal- 
g lion with the scrolling floral stems and sprays radiating from a small 
carnation medallion at centre. Diameter, 131% inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


727—Hispano-Moresaurt ALBARELLO Siateenth Century 


Cylindraceous, the sides slightly incurvate, with short sloping shoulder 
4 of 0. and cylindrical neck with everted lip; withdrawn foot. Creamy-white 

glaze, profusely ornamented in grayish lapis-blue and delicate brown 

lustre with stripes, Saracenic designs, and pseudo Cufic inscriptions. 


From the Tabbagh Collection, New York. Height, 12 inches. 


728—Prrsian JAR Sixteenth Century 


Inverted pear shape on a deep and slightly spreading foot; wide neck 
/§o slightly contracting, and lightly molded lip. Four loop handles. Incised 


ornamentation of crude execution, in panels; lapis-lazuli glaze. 
From the Tabbagh Collection, New York. Height, 187A tekea: 


729—Kovusatcua PLATE Sixteenth Century 


Deep ovoidal form with rim flaring. Vivid blue-green glaze coarsely 
y Fi 0 and boldly crackled, ornamented in a rich and brilliant ebony black with 


freely drawn floral and vermiculate scrolls. Diameter, 131/, inches. 


From the Tabbagh Collection, New York. 


Second Afternoon 


730—Hispano-Morersaut ALBARELLO Sixteenth Century 

S 30 Slightly incurvate body, sloping shoulder and bottom, short cylindrical 
y neck with lightly molded lip; convex foot. Cream glaze, with a delicate 
lustre decoration of floral scroll, and a bold leaf and bud scroll reserved 

and glazed in dark lapis-blue. Height, 11 inches. 


731—-BoxuHara Pate Seventeenth Century 


Ovoidal cavetto, spanned by a Greek cross in cream-white crackled in 
SS. O café-au-lait, reserved in a blue cross-hatched ground, and decorated in 
blue with floral designs. Between the arms, foliations in blue on white. 


From the Tabbagh Collection, New York. Diameter, 13%, inches. 


732—KovusatTcHa PLATE - Siateenth Century 
Ovoid cavetto on broad and bold foot, with flat rim foliated. All sur- 
y. 2) QO faces glazed in green varying from pale to rich in tone, and both exterior 
and interior decorated in rich, deep black. In the cavetto a medallion 
of two fishes and panels of inscriptions. Border of scrolling leaves. 


From the Tabbagh Collection, New York. Diamater, 14 inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


733—Kovnatcnua PLare Sixteenth Century 
y Ip Ivory-white glaze with spacious café-au-lait crackle, covering both supe- 
re) rior and inferior surfaces. Cavetto bottom occupied by a large and 
complex circular medallion in which conventional and somewhat natural- 
istic floral motives predominate, a quadrilateral figure overlying its 
centre. The decoration is in lapis-blue and emerald, with yellow and 

red enamels, and on the rim a single broad splash of deep aubergine. 


From the Tabbagh Collection, New York. Diameter, 1434, inches. 


734—KovuspatcHa PuatE Sixteenth Century 
Ovoidal cavetto recurving in an expanding rim. Creamy glaze with 

café-au-lait crackle. In a large medallion filling the bottom, birds and 

FO. flowers, and rocks like obelisks, with other conventional designs, in gray- 
ish lapis-blue. On the rim a highly conventional border of indefinite 

design, in lapis, showing deeper notes and with slight accents in brown. 


From the Tabbagh Collection, New York. Diameter, 14 inches. 


735—Boxuara Bown Seventeenth Century 
Oviform broadly expanding from a bold foot, the rim still further 

ip 5. spreading. Interior and exterior decorated in blue, green, and white 
: reserve, with conventional floral designs closely patterned and running- 

scroll borders. Diameter, 1414 inches. 


Second Afternoon 


736—Hispano-Moreseue Prater Sixteenth Century 


Large and shallow ovoidal cavetto, plain, interrupted by a deep saucer- 
shaped umbo, its obtruding sides fluted in curling petal form and its 
medallion face adorned with fleurs-de-lis. Broad and flaring rim modeled 
with petals in relief. Decoration in conventional floral motives and 
diaper, in copper lustre on the cream glaze. Diameter, 18%, inches. 


737—Boxuara Prate Seventeenth Century 


70. 


Shallow ovoidal form with expanding rim. The rim checkered in cobalt- 
blue, emerald-green and white, the same colors with the addition of 
eggplant-brown being used in an overlapping circular fanleaf design 
which fills the cavetto. Diameter, 15 inches. 


738—KovuratrcHa Piate } Sivteenth Century 


19 0. 


Narrow rim, foliated and flat, spreading from an ovoid cavetto. All 
surfaces glazed in emerald green and adorned in brilliant black. On the 
rim a festooned border of leaf and fruit suggestion, below which the 
sides of the cavetto support a band of floral scroll in which pentafoil 
blossoms and morning-glory designs appear. ‘The same motives freely 
drawn furnish the ornamentation of the bottom medallion, enclosed by 


three rings. Diameter, 14 inches. 


From the Tabbagh Collection, New York. 


150 


60. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


739—Kovusatcua PLATE Steteenth Century 
Shallow with flaring rim. White glaze with bold crackle. In the cavetto 
four bell-shaped figures in outline, enclosing primitive floral designs done 
in turquoise-blue and in a pale red and paler yellow enamel. Same 
colors used in enclosures of imbricated designs on the rim. 


Diameter, 1234 inches. 
From Kouchakjt Freres, New York. 


740—Hisprano-Moresqurt Piaaue Sixteenth Century 


Shallow and with a broad recurving rim. Cream glaze, with a conven- 
tional decoration in yellow lustre, the decoration on the umbo being of 
floral derivation. At the edge of the cavetto a single band of blue. 


_ Diameter, 12%, inches. 


741—PeErsiaAn Jar Sixteenth Century 
Ovoid with low foot lightly spreading, short and broad neck with everted 
lip, and six strap-loop handles with rivets at the lower ends represented 
by bosses. Crudely incised decoration of successive cross-hatched bands 
and one deep band of diamond figures. Height, 12%, inches. 


742—-Damascus Derr Disx Sixteenth Century 
Circular, of ovoid contour, glazed in cream-white and decorated in green 
and blue, at bottom of cavetto with bunches of grapes pendent from 
stems and leaves, and on both exterior and interior of rim with borders 
of leaf-and-blossom scroll. (Repaired.) 


Diameter, 13 inches. 


From the Filippo Collection, New York, 1918. 


743—Prrsian Groputar Borrie Sivteenth Century 

Tall cylindrical neck. Glazed in a clouded bleu-de-ciel, boldly crackled 

in café-au-lait, interrupted by four quatrefoils in dark lapis-blue bearing 

animal figures in cream-white relief, the design suggestive of Chinese 
influences. On neck and shoulder stellate figures in similar relief. 

Height, 13 inches. 


744—Boxuara PiLatE Seventeenth Century 
Shallow cavetto spanned by a cross reserved in white and penciled in 
two tones of blue with daisy-form and trifoliate designs, the spaces 
between the arms given to floral pencilings in blue confined by foliated 
outlines also in blue, with spandrels touched in in manganese and emerald. 


From the Tabbagh Collection, New York. Diameter, 18 inches. 


Second Afternoon 


745—Boxnara PLate Seventeenth Century 

Broad and shallow ovoidal cavetto with flaring rim, the rim and inner 

St Se edge of cavetto decorated with conventional borders in blue and man- 
. ganese on a white crackled ground, and the cavetto occupied by a large 


checker-board medallion in the same colors. Inferior surface incised 
with an unusual scroll border under a rich turquoise-blue glaze. 


Diameter, 151% inches. 


From the Tabbagh Collection, New York. 


e 746—Perrsian (Kirman) Vase Sivteenth Century 

Oviform with a molded foot, molded lip, and two ear-loop handles. Glaze 

Fo. of rich turquoise-blue, mottled and crackled, and ceasing in a welter 
above the foot. 


Height, 15 inches. 
From the Tabbagh Collection, New York. 


747—I Taian PLAQuE 
Flaring broadly from a moderate foot; lip lightly molded. Sides of 
the cavetto decorated with trophies ornamented in crude motives of 
bd . eastern suggestion, in a creamy grayish and crackled glaze within a 
dark blue ground. At the bottom a yellow shield. 


Diameter, 15 inches. 


ITALIAN AND SYRIAN TERRA-COTTAS 


748—Smauutut VasE oF TERRA-COTTA Greek, Second Century B.C. 
ie With the body formed of the head of a goddess. Height, 5/ inches. 
749—Smartu Vase oF TERRA-COTTA Italian, Second Century A.D. 


With the body formed of the head of a woman in colors. 


jen _ Height, 6% inches. 


750—SraTvuETTE oF A Kine Egyptian, Twenty-second Dynasty 
Representing his mummy, carrying the insignia of Osiris. In terra- 

6 cotta, coated with a fine green glaze. An inscription in hieroglyphics 
y is cut down the front. Height, 8 inches. 


Kindly read the Conditions wnder which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


751—ARRETINE TErRRA-cotTta Two-HANDLED Cup 
Italian, End of First Century A.D. 


LENE Decorated with a procession of cupids in relief round the bowl. 


Height, 314 inches; diameter, 3% inches. 


(Illustrated) 


752—Two-HANDLED Cup In GREEN GuazeD TERRA-COTTA 
Found at Maara, Syria, First Century A.D. 


p o Decorated with vine leaves and grapes in relief. 
S e 3 
4 Height, 27% inches; diameter, 31/, inches. 


(Illustrated) 


1583—-Two-HANDLED CuPr In GREEN GLAZED TERRA-COTTA 
Found at Maara, Syria, First Century A.D. 


y, Decorated with laurel in relief. 
Af a O. Height, 8 inches; diameter, 31% inches. 


(Illustrated) 


751 


752 7538 


Arretine Terra-corra Cups (Italian and Syrian First Century A.D.) 


Kindly read the Conditions under which every item is offered 


and sold. They are printed in the forepart of the Catalogue. 


754—Pair Iratian Farence Lance Ewerrs Siateenth Century 


755— 


Ovoid, with short spreading foot and lip, short straight tubular spout 
high on the shoulder, and loop-scroll and mask handle. Luminous glaze 
of soft creamy tone, decorated with a large medallion wreathed in mot- 
tled emerald, rich canary-yellow and dark orange, and circling from the 
high spout to the foot. Within the wreath the Coronation of the Virgin, 
executed in a varied use of the same colors with the addition of a soft 
cobalt-blue. The scene a church building flanked by cherubim, and 
above the roof the Virgin in half-figure, holding the nude Child, who is 
in the attitude of blessing the beholder. Above the Mother’s head a 
crown held by angels in the clouds. Inscription on one ewer: 
ADM@IRAN. On the other: ADTTIBVIT. 

Height, 1314, inches. 


(Illustrated) 


Iranian Farence Larcre Botrie-rorm VAsE Sixteenth Century 
Large inverted pear shape with broad foot very short and _ slightly 
spreading; the high shoulder contracting gently in a tapering neck 
which expands lightly again to a beveled lip. Gray-white glaze of soft 
luminosity, with a symbolic and mythological ornamentation in poly- 
chrome largely in deep tones, soft and rich. Seated on a rock on a 
green mound a youthful figure soothing animals of the field with the 
balm of music—with a guitar-shaped viola played with a rustic bow. 
Above, the pharmaceutical inscription: A MELISSE. Enclosing the 
scene a conventional trophied wreath or garland; the reverse of the 
bottle semé with primitive scrolling sprays of floral derivation. 


Height, 1914 inches. 
(Illustrated) 


754 754 


Irarian Farence Ewers anp VAsE OF THE SIXTEENTH CENTURY 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


DECORATED TILES 


756—Ruacres Wau. Tite Thirteenth Century 
Hexagonal. Invested with a lustrous glaze of pure turquoise-blue. 
TO. Beneath the glaze foliage and an animal in bold relief. (Repaired.) 


Diameter, 7 inches. 


From the Filippo Collection, New York, 1918. 


757—Damascus TILE IN Carvep anp Intaip FRAME Sixteenth Century 

— Rectangular, exhibiting a bottle-form vase with bulbous neck and lip, 

JO. amid naturalistic and conventional leaf and flower scrolls and other 
devices, in turquoise-green and manganese on a white ground. 


Height, 8144 inches; width, 8 inches. 


758—Turee YezpD Mosque Tires (Persian) 1n FRAME 
Thirteenth Century 
Cruciform figure decorated with foliage in relief and glazed in turquoise- 
0. blue, flanked by two eight-pointed stars showing flowers and a bird in 
relief reserved in white on yellow lustre ground. One bordered by 
Neshkhi inscriptions in brown on white ground, and one with Cufic 

inscriptions in white on blue ground. ( Restored.) 


Diameters, 8 inches and 81%, inches. 


From the Filippo Collection, New York, 1918. 


759—Damascus TILE in Carvep anv Intaip FRAME Sixteenth Century 

— Rectangular, displaying a globular vase with expanding neck and 
/S spreading foot in turquoise-green, on a rich lapis-blue ground. Both 
vase and the surrounding ground carry floral ornamentation reserved 

in white, including the hyacinth, tulip and carnation and other flowers. 


Height, 9 inches; width, 9 inches. 


760—-SuLtranaBaAD Wau TILE In FRAME Thirteenth Century 

Rectilinear, picturing an elephant pursued by a lion, in relief, on a plain 

ree surface, beneath an intricately wrought frieze. Turquoise-blue glaze. 
3 (Repaired. ) 


Height, 8% inches; length, 10 inches. 
From the Filippo Collection, New York, 1918. 


Second Afternoon 


761—Two Damascus Watt Tites 1n Frame Siateenth Century 


bo. 


Decorated in dark and light blue on white ground with foliar and highly 
ornate medallions, carefully placed, amid a scroll of pointed and sinuous 
leaves accented by blossom forms. Scroll borders at two sides. 


Height, 11% inches; length, 231/, inches. 
From the Filippo Collection, New York, 1918. 


762—Two Damascus 'TILEs Sixteenth Century 


EO. 


Rectilinear, with a rich and brilliant glaze, the ground a clouded lapis- 
lazuli blue. On this floral medallions in which traces of the Far Eastern 
lotus motive appear, smaller floral medallions and serrate leaves are 
finely executed in white, with details in red enamel and in turquoise and 
black. (Shght chips at edges.) 


Height, 5 inches and 5% inches; length, 113%, inches and 12 inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


763—Damascus Tite iv Carvep anp Intai Frame Stateenth Century 


/ OO. 


Rectangular. Cream-white ground, with decoration in dark lapis-lazuli 
blue, rich turquoise-blue and a pale greenish-turquoise, and manganese, 
the composite design a rather close interlacement of scrolling floral forms 
and rigid medallions, the medallions polyfoliate, the blossoms including 


the tulip and carnation forms. 
Height, 1014, inches; length, 1034 inches. 


764—Ruaces Wau Tite 1x Frame Thirteenth Century 


Yd. 


Rectangular, displaying the upper part of a trifoliate arch, bearing 
Neshkhi inscriptions in low relief, with flying birds occupying the span- 
drels. Across the top an ornate frieze. The whole under a brilliant 
glaze of rich turquoise blue. 

Height, 9 inches; length, 101% inches. 


From the Filippo Collection, New York, 1918. 


765—Damascus Tite in Carvep anp Inia Frame Siateenth Century 


MW 


Rectangular. Adorned in turquoise and dark lapis blue with poly- 
foliate, petal and other floral medallions, and conventional leaf scrolls, 
in a broad and open interlacement, on a creamy white ground. 


Height, 1034 inches; width, 1034 inches. 


766—Ruaces Patace Wari Tite 1n Frame Thirteenth Century 


ee 


Rectangular, the entire surface given to a varied relief ornamentation, 
including a floral frieze with incidental birds, below which are highly 
conventionalized animalistic scrolls in the spandrils above a polyfoil 
arch, all in a creamy glaze on a copper lustre ground. The arch is in 
double outline of turquoise blue, with Neshkhi inscriptions enclosed, in 
lapis-blue on a lustred ground. 

Height, 11%, inches; width, 1114 inches. 


From the Filippo Collection, New York, 1918. 


767—Kasuan Toms Tite 1x FRAME Fifteenth Century 


/00. 


Rectilinear, displaying a tall pointed arch with knobbed supports which 
are carried up to a lintel above, all in high relief, and embraced within 
a Neshkhi inscription in low relief. Within the arch floral scrolls in 
relief. All under a brilliant turquoise glaze. 


Height, 16 inches; width, 12 inches, 
From the Filippo Collection, New York, 1918. 


Second Afternoon 


768—Portion oF KasHan Tite Mruraps In Frame Thirteenth Century 
& Rectilinear; formed of seven tiles, all with lustred grounds, displaying 
St 6) * floral ornamentation in white reserve. Across the centre, Koranic let- 
tering, and at top and bottom, Cufic inscriptions, all in bold relief and 
glazed in grayish lapis-blue. Above the Koranic letters a bold frieze 

of highly conventional scroll. 


Height, 201%, inches; length, 31 inches. 


From the Filippo Collection, New York, 1918. 


769—BronzeE Suow Casinet witH Exectric REFLECTOR 


Rectangular; fitted with glazed door and ends. Interior arranged with 
‘ 3 0. five glass shelves and lined with rose-du-Barry silk. On high oak base. 


Height, 5 feet 3 inches; width, 4 feet 3 inches. 


Base, height, 2 feet. 


THIRD AFTERNOON’S SALE 


WEDNESDAY, MARCH 7, 1923 


IN THE ASSEMBLY HALL 
OF 


THE AMERICAN ART GALLERIES 


BEGINNING AT 2.15 O'CLOCK 


Catalogue Numbers 770 to 962, inclusive 


FRENCH AND ORIENTAL PORCELAIN 


770—Two Empire Porcetain Cups AnD SAUCERS 
(a) Large gadrooned cup and saucer. Decorated in reserve with 
medallion of bird, on gilded gray grounds. Interior gilded. 
(2) Decorated with bands of flowers alternating with others of gilded 
pale green. (Chipped.) 


771—Two Empire Porcretain Larce Cours 
ig (a) Faceted round body; alternately decorated with gilded green 


bands and reserved bouquets of flowers. 
(8) Decorated with gilded panels of clustered ae flowers. 


772—Empire PorceLtaAin Covered Bovuitton Cur 


Bowl-shape, with rustic handle; dome cover, with similar rustic entwined 
de handle. Decorated with sprays of conventionalized flowers in gilding. 


Diameter, 61, inches. 


Kindly read the Conditions wnder which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


773—DEeEcoRATED PoRCELAIN Té&TE-A-TETE CoFFEE SET 
if R fo) Eighteenth Century 
is Consisting of coffee-pot, sucrier, creamer, two cups and saucers and 
tray. Richly decorated with rustic subjects, floral medallions and 
scroll-gilded royal blue borders. 


774— Decorated PorceLaIn TE&TE-A-TETE COFFEE SET 
Eighteenth Century 
YS. Consisting of coffee-pot, sucrier, creamer, two cups and saucers and 
tray. Decorated with oval medallions of cupidons, sprigs of flowers and 
bandings in blue and gilding. 


775—Emprre Porceitain InpivipuaL CHocoLaTE SET 
50 Consisting of pot, covered sucrier, creamer, cup, saucer and tray. Dec- 
one orated with “Shooting Scenes” reserved on Empire green grounds; 
gilded. 


776—InpivipvuaL DecorateD PorceLain CorFEE SET 
Italian, Empire Period 
bd. Consisting of pot, covered sucrier, creamer, cup, saucer and tray. 
Decorated with classic panels depicting the “Muses” and “Venus and 
Adonis” in colors and gilding. 


177—GILDED SILVER ENAMEL SET oF Spoons 


eagles of Germany. The bowls with portraits of the late Royal family, 
Wagner and other artists. (Twelve spoons.) In case. 


7. 50 Elliptical bowls, with molded balustered handles displaying double 


2 


v 


Note: “A Presentation Set.” 


' 1778 —GitpEp Sitver Enamet SEet oF Spoons 


we), FO Similar to the preceding; the bowls depicting monarchs of the world 


and important statesmen. (Twelve spoons.) In case. 


Note: “A Presentation Set.” 


779—Two Lear CanpELABRA Italian Late Eighteenth Century 
ae cE Leaf-motived gadrooned shaft; enriched with winged amorini. On richly 
molded and scrolled round base. Five arms of scrolling acanthus leaves 


for lights. 
Height, 2034, inches. 


Third Afternoon 


780—CuinesE Porcetain Cup anp Saucer Ch’ien-lung 

cq Delicate semi-eggshell porcelain, both saucer and cup decorated in enamel 

7 colors with figure groups apparently copied from European engravings 
mounted on Chinese scrolls, and colored after paintings. (Slight repair 


at saucer rim.) 
Diameter of saucer, 41% inches, 


From the J. Pterpont Morgan Collection. 


781—Curnese Porcetain Tray (or “BrusH-wasHER’’ ) K’ang-hsi 


/ vi $0 In form of a curling lotus leaf holding a seed-pod, a frog and a crab, 


and glazed in turquoise, aubergine, yellow and white. 
Length, 5 inches. 


From the J. Pierpont Morgan Collection. 


782—Pair CHinesE PorceLaiIn AMPHORAS K’ang-hsi 

Slender, invested with a monochrome glaze of delicate lavender-blue, 

S/; on one of mirror brilliancy, and almost clair-de-lune quality. (Slight 
° 


repair at lip of one.) 
Height, 51% inches. 
From the J. Pierpont Morgan Collection. 


783— CHINESE PorcELAIN Box wirH Cover Ch’ien-lung 
— Lanceolate-leaf shape, with floral decoration in polychrome enamels on 
Wh JO a brilliant white ground. On the leaf-shape cover, glazed in green, a 
young mother, recumbent, suckling her man-child, modeled in high relief 
and glazed in white, with flowered robes in polychrome enamels. 


Length, 6 inches. 


784— Bianc-DE-CHINE STATUETTE 
50 Seated figure of Kuan-yin, in robes and cowl and with high headdress, 
} W hands palm outward upon her right knee, in her right hand a scroll, a 


necklace crossing her breast. (Finger tips chipped.) 
Height, 834 inches. 


785—Buanc-DE-CHINE STATUETTE 
D Figure of Kuan-yin, seated, right hand resting upon her right knee and 
a q) J left hand above it clasping a scroll (end slightly chipped) ; in her fore- 


head the all-seeing eye. é 
Height, 834, inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


MISCELLANEOUS OBJECTS 


786—ALBANIAN DacGGER AND SCABBARD Eighteenth Centur 
g Y 
Aa Ss 0 Curved blade; horn handle carved with fluting, and having silver mounts, 
oe Sy jeweled. Wood scabbard encased in silver, with repoussé ornamentation 
| p 


in floral designs. 
Length, 161, inches. 


From the Filippo Collection. 


787—PeErsiAn DaccER AND SCABBARD Seventeenth Century 


d Curved blade, engraved with carnivores making prey of gazelles, gilded. 
nt ; ei Damascened handle exhibiting floral ornamentation and Neshkhi inserip- 


J tions. Contemporary scabbard in red velvet. 
Length, 151%, inches. 


From the Filippo Collection. 


788—Four Bronze anv PorceLaIn AMULETS 
(a) Seated figure in bronze of the Egyptian god Setski. 
lp, (x) Aztec; soft stone figure of a god. 
; (c) Green hard stone bust of a dignitary (Aztec). 
(>) Blue porcelain Egyptian fish. (The All-seeing eye.) 


789—Two Bronze Presentation Mepats (Aztec) 
0 Circular, with plain reverses, inscribed “Club Tris al comendador Enrico 
‘ Caruso, Homenaje.” Observes with symbolic Aztec motives most care- 


fully reproduced. 
Diameter, 3% inches, 


790—ScutrptureD Ivory CruciFix Italian, Seventeenth Century 
a e “Our Lord Nude Save a Loin-cloth.” Nailed to an ebony cross; sup- 
/ A ported on an oblong molded base. Mounted in silver, with nimbus, floral 


scrollings and festoons. 
Height, 251% inches. 


791—Sitver Icon Russian, Seventeenth Century 
, Oblong silver repoussé cover ; enriched with two figures of saints standing 
/ Ne at right and left of the sacred cross. 


Height, 3 inches. 


Third Afternoon 


792—SILVER-MOUNTED ToRTOISE-SHELL COFFRET 


5d Italian, Eighteenth Century 
So Round hinged cover and body inlaid with red tortoise-shell. Mounted 
in silver, with scrolled corners, hasp, lock plate and bird-claw feet. 


Height, 614, inches; length, 7%, inches. 


793—Two Konti Bronzrk Boox Enps 


“The Thinker.” Youth seated at a pedestal wearing a meditative air. 


3 fi JO On molded base. Red-brown patina. Signed and dated 1914. 
Height, 8% inches. 


794—Perrstan Brass Crrcurar Disu or Derr Tray 


Ovoidal body, with curving and widely flaring festooned rim of eighteen 
poe. points. Incised decoration throughout the rim and covering the supe- 
rior surface of the bottom, disclosing floral panels and brocade borders, 
and quatrefoils enclosing animals and conventional figures and flowers, 


on a diapered ground. 
Diameter, 1834 inches. 


TEXTILES 


795—Go.p-emprowrred Linen Borper Mitylenian, Eighteenth Century 


Ivory linen lawn; enriched in gold threads and ivory linen threads with 
is 0 beautiful scrollings of flowers and pomegranate motives having drawn- 
work centers. Festooned medallioned border at foot. 


Length, 214 yards; depth, 14 inches. 


796—As1a Minor GoLp-EMBROIDERED COovER 


/ Olive-green satin; enriched in gold threads, pink, blue and yellow silks, 
oy with cruciform floral medallion and borders of scrolling flowers. 


20 inches square. 


797—TorkisH GOLD-EMBROIDERED LINEN CoveER 


Si D Tyrian-red linen; enriched in gold with three bandings of inscriptions 
ey. interrupted by narrower bands of mock inscriptions. Trimmed with 
gold lace. 


2 yards by 20 inches. 


798—Asia Minor EmproirErep Linen Cover 
Deep ivory linen; solidly embroidered in crimson, blue, pink, yellow, 
/ dD ‘ green and ivory, with scrollings of large varied flowers. 
All, inches by 36 inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


799—Boxunara Goup-BrocapED Linen Cover 
Vay Ivory linen; woven with varied gold, green and pink stripes of floral 
and geometric motives. 
83 yards 8 inches by 29 inches. 
800—Asta Minor Goup-EMBROIDERED LineN Cover 
SO Ivory linen; enriched in gold threads with inscribed center, bouquets of 
/ ok flowers and crescents. Deep border of interlacing floral scrollings. 


. 87 inches square. 


801—Turkisu Gotp AND Sitver EmproweErep LiInEN Cover 


Displaying inscribed center and borders in silver and gold threads on old 


) a red linen. Paneled and trimmed with gold lace. 
39 inches by 36 inches. 


802—-ALBANIAN GOLD-EMBROIDERED CrotH CovEeR 
Crimson cloth, scrolled and fitted with ivory cloth border. Enriched 

Me with scrolled medallions and fanlike motives. 
29 inches by 12%, inches. 

803—JAPANESE GOLD-EMBROIDERED S1LK CusHION 
50 Deep blue silk; enriched in raised gold threads with sacred tortoise amid 
/r wave motives. ‘Trimmed with tassels; lined with old red silk. 


31 inches by 26 inches. 


804—As1a Minor GoLpd-EMBROIDERED VELVET Cover 
Royal blue velvet; enriched in raised gold threads with scrolled medal- 
2) J. lion and baskets of flowers at corners, birds and scrollings of blossoms. 
Trimmed with gold fringe. Lined with purple velvet. 
38 inches square. 
805—Asta Minor Gonp-EMBROIDERED VELVET CUSHION 
We Ivory velvet; enriched in varied stitches of gold threads, with birds and 
baskets of flowers. Trimmed with fringe. 
18 inches square. 
806—GoLD-EMBROIDERED Crimson VELVET CusHION 


/%. Lustrous velvet; enriched in raised gold with varied birds and baskets 


of flowers at corners. Trimmed with gold fringe. 
t=] 
19 inches square, 


807—Asita Minor GoLp-EMBROIDERED VELVET CusHION 


ae Similar to the preceding. Blue velvet. 
/ ‘ 


Third Afternoon 


808—TurkisH GOLD-EMBROIDERED Si1uK Cover 


Re Pale blue satin center medallion and border; enriched with mock inscrip- 
. tions. Crimson satin ground with scrolled palmette motives having 


green silk centers. 
36 inches by 34 inches. 


809—Asi1a Minor Gop-EMBROIDERED Linen Cover 
ine Ivory linen; enriched in solid gold threads with florally paneled center ; 
: wheat and angular scrollings in border. Trimmed with gold lace. 


35 inches by 19 inches. 


810—Japanese Sinver AND Gotp Emproimrerep VeLver Cover 
$6  Uustrous amber-toned velvet; enriched in gold and silver threads with 
at os passages of pink, displaying birds amid growing bamboo. Floral scroll 
border. 
1 yard B4 inches by 1 yard 8 inches. 


811—. JAPANESE GOLD-EMBROIDERED VELVET CovER 


Soft amber-toned velvet; displaying in ivory silk and gold threads cranes 
2 0. flying and perched amid lotus flowers. Border of further scrolling lotus 
flowers. 


1 yard 22 inches by 32 inches. 


812—TurkxisH GOLD-EMBROIDERED SATIN CoveR 
RY) Olive-green satin; enriched with symbolic motives, pale blue medallion 
/ 7 and bracket corners having pineapple and dragon-fly motives. Inseribed 


medallion border of red satin. 
2 yards by 19 inches. 


813—TurkisH GOLD-EMBROIDERED SATIN CovER 
pl §Q Similar to the preceding; with pale blue satin ground, crimson medal- 
/ 


lion and corners; olive-green border. 


814—Asta Minor GoLp-EMBROIDERED SILK Cover 
In the form of a prayer rug. Crimson silk mihrab enriched in green 
/ / bd, and gold with vase of flowers. Green silk spandrils, with scrollings of 
flowers. The mihrab flanked by old pink floral panels. Green border 


adorned with crimson silk medallions bearing inscriptions in gold. 


2 yards 33 inches by 1 yard 34 inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


= 815—NEEDLE-PAINTED PicTURE By Sparacino 
2 /' vo The “Apotheosis of Caruso.” The head of the famous tenor rising 
from the waves; bordered by scrollings. Inscribed: ‘“Gielo E Mar.” 

Signed and dated 1920. Framed. Height, 22 inches; width, 16 inches. 
816—Cnuinese Paintine on SILK Ming Period 

/ d “The Apotheosis of Buddha.” 'The apostle of patience seated enthroned 
Lf ; in a rocky landscape; occupied by many devotees and followers. Framed 
with gold brocaded deep blue mat. Height, 61 inches; width, 81 inches. 

817— CuInEsE ParntTine on SILK Ming Period 

/ Ly dD. Similar to the preceding. Height, 61 inches; width, 81 inches, 
818—CuineEsE ParInTine on SILK Ming Period 

rm “Buddha Enthroned.” The apostle of patience enthroned within a 
0: medallion of brocade motives; enriched at foot with wave devices: at_ 


crown with cloud scrolls. Framed with mat of tapestry-woven silk 
patterned with geometric brocade in rich colors. 
Height, 411%, inches; width, 27 inches. 


819—Two Japanese Paintines on SILK 
VE “White Heron and Iris” and “Bird on Branch.” In soft colorings, 
2 realistically portrayed. Framed. 

Heights, 101% and 11 inches; widths, 84% and 9 inches. 


820—Two JapanesE PAINTINGS ON PAPER 
/ “Plover” and “Hawk on Pine Branch.” The former amid narrow-leafed 
He ‘ grasses; the latter interestedly watching other flying birds. Fujiyama 
in the distance. Framed. 
Heights, 10% and 8%, inches; widths, 814%, and 11 inches. 


821—GoLpD-EMBROIDERED Siuk Court Rose or QuEEN Maria CAROLINA OF 


NapLes 
/b0 Consisting of bodice, skirt and court train. The bodice and skirt of 
heavy ribbed flame-crimson silk embroidered in pure gold threads with 


vertical bandings of floral motives interrupting grounds semé with 
fleurs-de-lis and finished at foot with imbricated scallop shells, the device 
of Naples. The train of royal blue silk finished with floral border of 
gold threads and bullion fringe. Length of train, 8% yards. 


Note: Queen Maria Carolina, of Naples, was the close friend of the famous Lady 
Hamilton, and of the naval hero, Lord Nelson. 


Third Afternoon 


822—Two ANTIQUE SILVER Stace Rines 
2) Db (a) Oval Egyptian beetle scarab, inscribed at back; simple band 


mounting. 


(zs) Amethystine, in scrolled mounting. 


823—Sitver Poison Rine Turkish Eighteenth Century 
/3 Inscribed circular screw bezel, with compartment for poison or pungent. 
‘ Reeded ring, with grotesque scrollings supporting bezel. 


Costumes and Accessories worn by Mr. Caruso in the various Operas 
in which he appeared. In instances there are several portions of different 
costumes grouped, as the famous tenor loved occasionally to change his 
costume for each character when possible. In other instances there are 
parts for the same character, but for different acts of the same opera. 


824—Oprra CosTuME FOR THE CHARACTER OF “SMANnRICO” 
So Opera, “Il Trovatore,” by Verdi. Consisting of large lavender broad- 
= aay cloth mantle with velvet collar, cream silk smock, silk shorts, tights, 
embroidered lavender silk velvet coat finished with collar and sleeves 
of chain mail, and gray suéde top-boots having embroidered velvet tops. 


825—Orera CosTuME FOR THE CHARACTER OF “SMAnrICcO” 
Opera, “Il Trovatore,” by Verdi. Consisting of gold-embroidered gray- 
/D, blue silk coat, rose-pink silk shorts, pale blue shorts, and blue leather 
shoes. The coat slashed at sleeves, handsomely embroidered with 


spangled V at throat and bands in gold. 


826—Orerra CostuME For THE CHaRAcTER oF “THE Monk” 
Opera, “La Favorita,” by Verdi. Consisting of two gold brocade 
20. chasubles. One gray with floral scrollings in gold, bearing a crimson 
velvet cross and jewelled gold-embroidered silver border with coronetted 
shield at base. The other similarly enriched on cloth-of-gold and green 
velvet borders. 


827—Oprra CosTUME FoR THE CHARACTER OF “Don Josk”’ 
6] 0 Opera, “Carmen,” by Bizet. Consisting of embroidered brown broad- 
, cloth jacket and shorts, multicolored scarf patterned with zigzags, black 
calf military top-boots, the famous old and worn tan suéde shoes, and 
two pairs of high leggings in brown leather. 


30. 


Kindly read the Conditions under which every item is offered 


and sold. They are printed in the forepart of the Catalogue. 


828—OprErA CosTUME FoR THE CHARACTER oF “Don Jost” 
Opera, “Carmen,” by Bizet. Consisting of embroidered bottle-green 
toreador jacket and shorts, multicolored striped cloth scarf trimmed 
with lattice ball fringe, pair of green suéde boots and pair of green 
suede high leggings. 


829—OrrrA CosTUME FoR THE CHaRAcTER oF “In Duca” 
Opera, “Rigoletto,” by Verdi. Consisting of gray striped brocaded 
velvet court coat trimmed with rhinestone buttons, similar velvet shorts, 
particolored tights, lawn ruff, gray velvet bonnet-hat and gray kid shoes 
trimmed with rhinestone rosettes. 


830—OrprErA CosTUME FoR THE CHARACTER oF “It Duca” 

Opera, “Rigoletto,” by Verdi. Consisting of embroidered velvet and 
damask doublet, shorts and cloak, lawn ruff, two amber and golden 
yellow bonnet-caps, high black calf military top-boots, gray suéde shoes 
and blue tights. The doublet of cream floral damask striped with 
changeable blue and amber velvet; richly embroidered with gold scroll- 
ings and spangles. The cloak and shorts of similar velvet, enriched with 
scrollings in silver and gold. 


831—-Orrra CosTUME For THE CHARACTER oF “It Duca” 
Opera, “Rigoletto,” by Verdi. Consisting of deep old-yellow doublet, 
shorts and plumed bonnet-cap, silk stockings, old-red tights, velvet shoes 
and old-yellow velvet shoes. The doublet striped with old silver and 
velvet on deeper toned broadcloth. 


832—Orprra CosTUME FOR THE CHARACTER OF “It Duca” 
Opera, “Rigoletto,” by Verdi. Consisting of embroidered silk doublet 
and shorts, emerald-green velvet bonnet-cap, puffed green suéde shoes 
and dagger having crimson velvet sheath and belt. Doublet and shorts 
of apple-green ribbed silk enriched with bands of silver lace, scrollings, 
many cut-steel buttons and crimson velvet belt. 


833—OprEra CosTUME FoR THE CHARACTER OF “In Duca” 

Opera, “Rigoletto,” by Verdi. Consisting of embroidered velvet and 
silk doublet and shorts, bleu-de-ciel mantle and bonnet-cap, flesh-colored 
tights and gray velvet shoes. Doublet and shorts of gray corded silk 
and deeper toned velvet, variously enriched in gold, silver threads and 
cut-steel beads, with scrollings and curious chevrons. The velvet mantle 
in gold threads and spangles, with collar and deep borders of varied 
floral scrollings. 


Third Afternoon 


834—Orrra CostTUME FOR THE CHARACTER OF “It Duca” 


[§ 


Opera, “Rigoletto,” by Verdi. Consisting of embroidered leather and 
velvet doublet, wine-crimson velvet bonnet-cap, green silk tights and 
high black leather boots buttoning to thighs. Brown suéde leather 
doublet, with green velvet collar and sleeves, enriched with scrollings of 
silver threads and appliqués of wine-red velvet. 


8385—Orera CosTuME FOR THE CHARACTER OF “RICCARDO” 


aS? 


Opera, “Ballo in Maschera,” by Verdi. Consisting of deep steel-gray 
velvet coat, gray satin shorts and richly brocaded orange pink and gold 
waistcoat. The coat and vest trimmed with faceted steel buttons, silver 
lace and numerous frogs. 


836—OrerrA CostTUME FOR THE CHARACTER OF “RICCARDO” 


5: 


Opera, “Ballo in Maschera,” by Verdi. Consisting of wine-crimson 
velvet coat, velvet bordered cloth mantle, ribbed plum-colored silk shorts, 
trunks and two pairs of varicolored lavender tights. The coat trimmed 
with numerous gold frogs, buttons and deep lace in sleeves. 


837—EMBROIDERED VELVET MAnTLE FoR THE CHARACTER OF “RICCARDO” 


Opera, “Ballo in Maschera,” by Verdi. Rich purple silk velvet with silk 
collar, enriched with scrolled and geometric bandings in silver threads 
and faceted steel motives. 


838—EmpBrompERED VELVET CAPE FOR THE CHARACTER OF “RiccaRDO”’ 


Opera, “Ballo in Maschera,” by Verdi. Lustrous ruby red velvet, 
enriched in applique velvet of lighter tone, gold threads and spangles 
with floral jardiniére, bandings and ogivals; similar collar with gold 
cords and tassels. 


839—OrrerA CosTUME FoR THE CHARACTER OF “RICCARDO” 


Opera, “Ballo in Maschera,” by Verdi. Consisting of rich amber velvet 
and silk coat, shorts and gold-brocaded gray silk waistcoat. Ribbed 
silk coat, enriched with stripes of velvet scrolled with spangles and silver 
threads; the shorts of velvet, with silk and silver enrichment. 


840—Orrra CostuME FoR THE DisauisED CHARACTER OF “RICCARDO” 


Opera, “Ballo in Maschera,” by Verdi. Long black silk domino-cowled 
habit with old-rose ribbon and velvet mask. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


841—-OrrraA CosTUME FOR THE CHARACTER OF “RICCARDO” 


oe Opera, ‘‘Ballo in Maschera,” by Verdi. Consisting of velvet and broad- 
(2° cloth jacket and shorts, and black silk tights. Deep blue cloth jacket, 
enriched with slashings of velvet worked with stripes. and rosettes of 


blue beads. Collar and cuffs of old ivory floral lace. Velvet shorts, 
with similar enrichment in cloth and dark blue ribbons. 


842—OpERA CosTUME FOR THE CHARACTER OF “RiccaRDOo” 

Opera, “Ballo in Maschera,” by Verdi. Consisting of velvet and silk 
jacket and shorts, blue points to pin on, ivory and gray silk stockings 
2 O, and gray suéde shoes. Honeycomb patterned gray-blue silk jacket, 

enriched with slashings and bandings of similar colored velvet adorned 

in gold with floral scrollings; collar and deep cuffs of Venetian Gothic 
lace. Shorts of gray-blue velvet trimmed with silk and gold embroidery 
and many ribbon points. 


843—Opera CosTUME FOR THE CHARACTER OF “RiccARDO” 
50 Opera, “Ballo in Maschera,” by Verdi. Consisting of various portions 
4: of costumes; long gray cloth mantle, red linen cape, brown cloth helmet- 
/ shaped cap, green gray shorts and embroidered blue cloth sleeveless 
jacket. 


844—Oprra CostUME FoR THE CHARACTER OF “Des GriEvUXx” 
Opera, “Manon,” by Massenet. Consisting of brown broadcloth coat, 
56 trimmed with tortoise-shell buttons; deep russet-brown satin shorts and 
[T golden-yellow silk waistcoat, very richly embroidered with scrollings of 
large flowers and fruit in colors and gold threads. 


845—Orera CostuME FoR THE CHARACTER OF “Drs GrIEUX” 
Opera, “Manon,” by Puccini. Consisting of rich russet-brown velvet 
hase coat, frogged with similar colored cords and trimmed with large silk 
; buttons, gray brocaded floral patterned silk waistcoat and another of 
sprigged golden-yellow silk. 


846—Orrra CosTUME FOR THE CHARACTER OF “Drs GRrIEUX” 


ae Opera, “Manon,” by Massenet. Black broadcloth cassock and mantle, 
/ i black corded silk coat, trimmed with jet buttons, black silk sash and two 


pairs of patent leather shoes, trimmed with silver and rhinestone buckles. 


Third Afternoon 


847—Oprra CosTuME FoR THE CHARACTER oF “Drs GriEUX” 

2) nS: Opera, ‘““Manon,” by Puccini. Consisting of embroidered dove-gray cloth 
coat, gray silk shorts, figured ivory silk waistcoat, pair of buttoned high 
top-boots in gray suéde and deeper gray suéde shoes. The coat enriched 
in cordonnet with large scrollings on fronts, pockets and tails. 


848—Oprra CosTUME FoR THE CHARACTER oF “Des Grizux” 
50 Opera, ““Manon,” by Massenet. Consisting of rich gold-brocaded coat 
4): trimmed with rhinestone buttons, pale yellow satin shorts with similar 
buttons, gold-medallioned brocaded old-pink waistcoat, dove-gray cloak 
with three capes and pair of gray suéde shoes. 


849—Oprra CosTUME FOR THE CHARACTER oF “Drs Grizvx” 
50 Opera, “Manon,” by Puccini. Consisting of bottle-green coat, trimmed 
92 with lighter velvet cuffs, pockets and frogs, velvet waistcoat, velvet 
shorts and another pair in bottle-green cloth, deep russet-brown mantle 
and green suéde three-buckled shoes. 


850—Orrra CosTUME FOR THE CHARACTER OF “Des GRrRIEUX”’ 


court coat, lavender satin shorts, trunks and deep lavender suéde shoes. 
The coat embroidered in gold and deeper tones of lavender, with floral 
scrolls at fronts, pockets and tails; trimmed with rhinestone and enam- 
eled buttons. 


fe Opera, “Manon,” by Puccini. Consisting of embroidered lavender velvet 
/%, 


851—Orrra CostumME For THE CHaArRAcTER oF “Des Grieux” 
Opera, ‘““Manon,” by Massenet. Consisting of black corded silk long 
15. mantle, waistcoat, shorts and tights, ivory silk blouse trimmed with jabot 
of floral lace and black patent leather shoes haying red heels and rhine- 
stone buckles. 


852—Orrra CostuME For THE CHARACTER oF “Faust” 
5S Opera, “Faust,” by Gounod. Consisting of blue cloth and velvet jacket, 
ie shorts. blue velvet bonnet-cap, gray silk tights and gray suéde shoes. 
; Cloth jacket and shorts enriched with deeper blue velvet slashings ; 
trimmed with beaded floral motives. 


853—Orrra CostTuME FoR THE CHARACTER oF “Faust” 
SF Opera, “Faust,” by Gounod. Consisting of gold-embroidered doublet, 
i 7: shorts and bonnet-cap, pink silk tights and slashed green velvet shoes. 
Green cloth doublet and shorts enriched with yoke and bands of green 
velvet, embroidered with gold scrollings; the sleeve-slashings caught with 
rhinestones. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


854—OrperA CosTuME FoR THE CHARACTER OF “FausT” 


56 Opera, “Faust,” by Gounod. Consisting of embroidered lavender cloth 
? 2: jacket, shorts and extra trunks of slashed velvet, pair of silk tights and 
jeweled pailletted lavender silk and velvet bonnet-cap. The jacket and 
shorts enriched with slashings of deeper toned lavender velvet, silver 
buttons and frogs. 


855—Orrra CostTuME FoR THE CHARACTER OF “NEMORINO” 
Opera, “Elisir d’Amore,” by Donizetti. Consisting of rich russet-brown 
/d. velvet jacket, trimmed with guipure frogs and mother-of-pearl buttons, 
velvet shorts, old-red woollen stockings and yellow kid high boots having 
roll-over tops. 


856—OrpeEra CosTUME FOR THE CHARACTER OF CHENIER 
Opera, “Andrea Chénier,” by Giordano. Consisting of tailcoat and 
[d. shorts of striped olive-green silk; the coat trimmed with velvet collar 
and cuffs, plain silk revers and corded frogs. 


857—Orrra CosTUuME FOR THE CHARACTER OF “EDGARDO” 


Opera, “Lucia di Lammermoor,” by Donizetti. Consisting of embroi- 

[s. dered black velvet jacket, similarly enriched velvet mantle, shorts, beaded 
belt and shoes, and an extra pair of slashed black suéde shoes. The 
jacket is slashed over an ivory corded silk blouse and is richly embroi- 
dered with scrolled-beaded bands. ‘Trimmed with round enameled and 
gilded buttons. 


858—-Orrra CosTUME FOR THE CHARACTER OF “TuRIDDU” 


Opera, “Cavalleria Rusticana,” by Mascagni. Consisting of black velvet 
/ } jacket trimmed with gray braids and mother-of-pearl buttons, long gray 
: cloth trousers flaring toward boots and there trimmed with black velvet 
and further mother-of-pearl buttons, black cloth cloak, two red cloth 

fezzes and gray suéde shoes banded with black patent leather. 


859—Orrra CostuME FoR THE CHARACTER OF “JULIEN” 
56 Opera, “Julien,” by Charpentier. Consisting of warm tortoise-shell 
/ velours coat trimmed with brown braid, knee-trousers, gray velours 
waistcoat and brown felt quilted hat. 


Third Afternoon 


860-——-OrEra CostuME FoR THE CHARACTER OF “JULIEN” 

/0, Opera, “Julien,” by Charpentier. Consisting of dark gray-blue coat, 
trimmed with dark blue velvet collar and braid, long trousers to match, 
knee-trousers in gray-black cloth and high-crowned purple felt hat. 
finished with cut-steel band. 


861—Oprrra CostuME For THE CHARACTER OF “JULIEN” 
NSD Opera, “Julien,” by Charpentier. Consisting of gray cloth coat with 
: velvet collar, similar colored long trousers, blue knee-trousers, green 
quilted cloth soft hat and high-crowned green felt hat trimmed with 
cut-steel and velvet band. 


862—Orrra CostTUME FoR THE CHARACTER oF “‘EDGARDO” 
is Opera, “Lucia di Lammermoor,” by Donizetti. Consisting of black 
; velvet jacket with buff leather scalloped collar and cuffs; trimmed with 
braided and frogged pockets, square silvered buttons and Brussels lace 
jabot. High buttoned gray suéde top boots. 


863—-Orrra CostuME FoR THE CHARACTER OF “*FLAMEN” 
‘]. 5 Opera, “‘Ladoletta,” by Mascagni. Consisting of dark blue cloth dress 
coat, trimmed with velvet collar and cuffs and black horn buttons, sim- 
ilar cloth trousers widely braided at sides and turquoise-blue waistcoat. 


864—Orrra CosTUME FoR THE CHARACTER OF “FLAMEN” 
Rf) Opera, “Ladoletta,” by Mascagni. Consisting of dark brown cloth 
WE trimmed with seal-black velvet collar, cuffs and buttons, long trousers 
of similar cloth and gray velours waistcoat. 


865—Orrra CostuME For THE CHARACTER oF “Vasco pI Gama” 
50 Opera, “L’Africana,” by Meyerbeer. Consisting of buff leather jerkin 
z 2 showing shirt of mail at arms and skirt over paneled crimson velvet, 
crimson silk shorts and two pair of tights, large burnt-orange cloth 
mantle, crimson velvet bonnet-cap and two pairs of russet-brown suéde 
top-boots. 


866—Orrra CostuME ror THE CHaractTEer oF “Dick JoHNSON” 
Opera, “The Girl of the Golden West.” Consisting of five blue flannel 
/ D. shirts, red woolen vest, tan cloth riding breeches, long black calf top- 
boots, Mexican carved leather belt and holster. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


867—OprrA CosTUME FOR THE CHARACTER OF “ENnz0” 

Opera, “La Gioconda,” by Ponchielli. Consisting of brocade and velvet 

16. doublet, embroidered velvet short jacket, ivory silk skirted shorts, bro- 
cade fez with rhinestone medallion, embroidered blue velvet fez, velvet 
shoes and brown suéde top-boots. The doublet of blue velvet with panels 
of spangles. Rhinestones, braided and gold scrollings; yoke of spangled 
floral embroidery. Short jacket of wine-purple velvet paneled with silver 
braid and patterned galloon. 


868—OrerraA CosTUME FOR THE CHARACTER OF “ENZO” 


cloth coat, lavender gray silk trunks, ivory silk tights, round cloth cap 
trimmed with velvet band and cut-steel medallions, and purple suéde 
shoes having cut-steel scrollings at front. Wine-purple cloth coat slashed 
and trimmed with similar colored velvet, cloth-of-silver and silver cords 
in the slashings ; belt with cut-steel medallion. 


qo" Opera, “La Gioconda,” by Ponchielli. Consisting of velvet-enriched 
f 


869—-OrEra CosTUME FOR THE CHARACTER OF “RaovuL” 
re Opera, ‘‘Les Huguenots,” by Meyerbeer. Consisting of green and lay- 
VW, ender large broadcloth mantles. The green with scalloped edges, trimmed 
with border of green and ivory brocade. ‘The lavender, with deep col- 
lar and inner and outer borders embroidered in purple and ivory with 
bands of scrolling flowers and detached blossoms. 


870—Orprra CosTUME FOR THE CHARACTER OF “RaAovuL” 
Opera, “Les Huguenots,” by Meyerbeer. Consisting of jetted purple 
{%, velvet doublet, two pairs of similar velvet trunks, purple silk tights, two 
pairs of purple velvet and suéde shoes and high purple riding boots in 
suede, laced at sides. Velvet doublet is enriched with slashed silk sleeves, 
cloth waist and broad rich bands of silver braid and motives in small 
jet beads; the trunks with jetted bands of velvet over purple silk. 


871—Orrera CostUME FOR THE CHARACTER OF “RAOUL” 

Opera, “Les Huguenots,” by Meyerbeer. Consisting of rich green velvet 
fe) 0. and silk doublet, two pair shorts, cape, bonnet-cap and bag, green suéde 
; shoes and long laced riding boots. The doublet and other velvet gar- 

ments are richly embroidered with gold cords and jet bead bandings. 


YS. 


7° 


Lf 0. 


20, 


/0. 


o12— 


873— 


Third Afternoon 


OprerA CosTUME FOR THE CHARACTER oF ‘‘RADAMES” 

Opera, “Aida,” by Verdi. Consisting of embroidered Egyptian long 
robe, blue silk cap with silvered ring ornamentation, striped cap with 
silver swan and red leather high strapped boots inlaid with gilded bands. 
Robe of yellow cloth enriched at neck, cuff of sleeves and foot with silk 
embroidery ; on breast with brown leather medallion bearing scarab and 
plates of gilded brass; striped skirt below and long central panel of 
blue and pink silk studded with many-colored mock jewels, and fringed. 


OpreRA CosTUME FOR THE CHARACTER OF “RaDAMES” 

Opera, “Aida,” by Verdi. Consisting of long jeweled robe, head-dress, 
coronet, short sword with crimson velvet sheath and jeweled hilt, six 
tooled leather armlets and brown strapped shoes. Robe of ivory cloth 
at yoke and arms embroidered in silk and enriched with pendent turquoise 
plaquettes; breast medallion of red suéde leather studded with symbolic 
lotus, sphinx and leonic heads in gilded brass; short skirt of green and 
ivory striped cloth below and central long panel heavily studded with 
mock jeweled scrollings and birds. 


874—Orrra CosTUME FOR THE CHARACTER OF “RaADAMES”’ 


Opera, “Aida,” by Verdi. Consisting of short-sleeved embroidered robe, 
embroidered girdle with red and gold-sheathed sword, yellow silk jacket, 
eleven varied armlets and collars, embroidered red silk and yellow linen 
mantle, brown shoes and silver and gold helmet-shaped head-dress. 
The robe, imbricated with gold lobes and studded with bosses, is of deep 
blue, crimson, orange and green satin; finished with crimson silk skirt 
fringed in gold and printed with scenes from Egyptian mythology. 


875—Orrra CostTuME FOR THE CHARACTER OF “RADAMES” 


Opera, “Aida,” by Verdi. Consisting of skirted robe of gray cloth 
embroidered in ivory satin, blue and orange silks with flowers and lotus 
bandings; loose white leather girdle with jeweled bands and symbols in 
gold threads; brown laced leather sandals. 


876—Orrra CosTuME FoR THE CHARACTER OF “RODOLFO” 


Opera, “La Bohéme,” by Puccini. Consisting of dark brown broadcloth 
dress coat having velvet collar and cuffs, yellow floral brocade waistcoat, 
gray and brown long tweed trousers, soft brown felt hat and black calf 
boots. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


877—OreraA CosTUME FOR THE CHARACTER OF “RODOLFO”’ 


') Opera, “a Bohéme,” by Puccini. Consisting of gray cloth dress coat 
: with velvet collar, striped gray tweed trousers, gray and green muffler, 
and eight brown and black silk ties. 


878—OrerA CosTuME FOR THE CHARACTER OF “LIONEL” 


CY) Opera, “Marta,” by Von Flotow. Consisting of wine-red skirted coat 
a} having velvet collar and cuffs, oval miniature on black ribbon, long 
skirted waistcoat and shorts of dark yellow cloth, three high-crowned 
black felt hats, brown leather belt, pair of black patent leather shoes, 

gray suede slippers and gray cloth cloak. 


879—OrrrA CosTUME FOR THE CHARACTER OF “CANIO” 


Opera, “Pagliacci,” by Leoncavallo. Consisting of tan smock and 

25, trousers trimmed with black and white rosettes, tan lawn ruff, three 
white linen ruffs and jabot, two pairs white leather shoes, and one pair 
of tan canvas shoes with black and tan rosettes. 


880—OperA CosTUME FoR THE CHARACTER oF “THE Monk” 


§ Opera, “La Favorita,” by Verdi. Gold and silver embroidered chasuble; 
at - field with blue and silver floral motives bearing crimson velvet cross and 
jeweled border of gold and silver cloth. 


881—Two Croaxs Worn sy Enrico Caruso In OPERA 


(4) Ruby-crimson velvet trimmed with galloon on one side and dove- 
30. gray velvet on other, embroidered in silver with scrollings. 


(sn) Deep brown hooded broadcloth cloak, embroidered in gay colors 
with squares and borders of scrollings. 


882—Buacx Vetvet Coat, Ticuts anp Waistcoats Worn sy EwNrRIco 


S, Caruso In OPERA 
4 (a) Black velvet dinner packet for “La Bohéme.” 
(3) Two pairs silk tights; pale blue and dark green. 


(c) Five waistcoats, variously of pink cloth, ivory and pink striped 
silk with rhinestone buttons; orange cloth trimmed in gold and dotted 
lavender silk. 


883—Trn AssortTED Wics Worn sy Enrico Caruso IN OPERA 


Pee Brown and gray perukes and eight varied colored close-fitting wigs. 


Third Afternoon 


884— Tren Assortep Wigs Worn sy Enrico Caruso 1x Opera 


1§0 One brown and two gray perukes and seven varied colored close-fitting 


wigs. 


885—Tern AssortED Wics Worn sy Enrico Caruso In OPERA 
75° Gray, white and brown perukes and seven varicolored close-fitting wigs. 


886—Tern Assortep Wics Worn spy Enrico Caruso In OPERA 


Two gray and two brown perukes and six varied colored close-fitting 


750 wigs. 


887—-T wo Parr or RHINESTONE Buckies Worn By Enrico Caruso In OPERA 


93° Oblong, in two sizes; one pair with black leather thongs. (Two stones 
/ missing. ) 


888—Two RuINEsTONE SHOE BuckitEs Worn By Enrico Caruso In OPERA 


/d. Curved oval; with four rows of stones in silvered settings. 


889—Two RHINESTONE SHOE BucxiEs Worn sy Enrico Caruso IN OPERA 


750 Oblong, with round corners; three bands of stones in silvered setting; 
: blue silk and gold leather thongs. 


890—T wo JEwreLteD Fors Worn By Enrico Caruso in OPERA 
/2.%° One, silvered setting; other, gilded. Set with varicolored mock jewels. 


891—-Four JEWEL Breuts anp NecxuaAce with MEpatition Worn By Enrico 


Caruso IN OPERA 
25. (a) Two silvered, variously linked and enriched. 
(3) Two good galloon, one with coral medallions, other with circular 
medallions. (Both slightly imperfect.) 


(c) Curiously linked gilded chain terminating in medallioned head of 
a Roman warrior. 


892—Scorcu Sitver Broocu By Forsyth of Glasgow 
covey Round; with runic bands and five similarly enriched bosses. In black 


leather case. Worn in the character of Edgardo in “Lucia di Lam- 
mermoor.” 


893—Six Brass ARMLETS FOR THE CHARACTER OF “SAMSON” 


Opera, “Samson and Delilah,” by Meyerbeer. Variously paneled and 
/0. enriched with brown leather. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


894—-Four Patrs or SHors Worn sy Enrico Caruso In OPERA 


50 (a) White suéde used by the character “Le Prophete.” 
vk (sn) High-lace green suéde, also for same character. 


(c) Maroon morocco, used by the character “La Juive.” 
(p) Black patent leather, used by the character “Turiddu.” 


895—THreEE Partrs or SHors Worn sy Enrico Caruso in OPERA 
if (a) Brown suéde with spring sides used by the character “Jon José.” 
? 


(se) Black patent leather, with engraved silvered buckles; used by the 
character ‘*Edgardo.” 


(c) Blue velvet, puffed with silk and gold at front of ankles; used in 
the character “Faust.” 


896—TuHreEE Pairs or SHoEs Worn By Enrico Caruso IN OPERA 
4 £0 (a) Gold open lattice leather high shoes; used in the character of ‘‘Le 
i Prophéte.” 
(s) Amber velvet; trimmed with gold and velvet rosettes; used in the 
character of “Ferdinando.” 
(c) Black kid; used in the character of “Des Grieux.” 


897—Turee Parrs or SHors Worn sy Enrico Caruso In OPERA 


(a) Blue leather, embroidered in gold, used in the opera ‘‘Pescatori di 
: Berle 


(s) Gray suéde; used in the opera “La Traviata.” 
(c) Black kid; used in the character of “Lionel.” 


(a) Blue velvet; used in the character of “Il Duca.” 


(8) Two pairs of black kid; used in the character of ‘Manrico.” 


45 898—Turee Parrs or SHors Worn By Enrico Caruso In OPEra 


899—Turer Paras or SHors Worn By Enrico Caruso In Opera 


ay (a) Blue velvet, jetted and slashed with blue cloth; used in the char- 


acter of “Il Duca.” 
(zs) Russet latticed high shoes; used in the character of “Samson.” 


(c) Russet sandals; used in the opera “Pescatori di Perle.” 


Third Afternoon 


900—TxHreEE Parrs oF SHoEs Worn sy Enrico Caruso In OPEra 
(a) Patent leather, with gilded buckles and red heels. 
H, (ws) Russet leather, laced in front. 
(c) Gray suéde; with gilded buckles. 


All used in the character of “Des Grieux” in the opera “Manon.” 


901—TuHree Pairs or SHors Worn sy Enrico Caruso In OpEra 


a Brown suéde and two black kid; one having silvered buckles and red 


heels. All used in the character of “Des Grieux” in the opera “Manon.” 


902—Four Pairs oF SHors Worn sy Enrico Caruso in OpEera 
(a) Silver brocaded blue silk. 
yo (3) Two calf and patent leather, with red heels. 
5 (c) Brown suéde, with three straps in front. 
All used in the character of “Des Grieux” in the opera of “Manon.” 


903—Two Pairs or Top-soots Worn sy Enrico Caruso In OPERA 
5S: Black kid, one with russet leather tops; the other with gray cloth tops; 
4 


used in the character of ‘‘Manrico.”’ 


904—Two Parrs or Tor-soots Worn sy Enrico Caruso In OPERA 
(a) Black patent leather, liberally slashed and heeled with turquoise- 
‘ blue leather. 
(s) Ivory kid, open in front and buckled. Trimmed and heeled with 
russet brown leather. 
Both used in the character of “Manfred” in the opera “L’Amore dei 
Tre Re.” 


905—Two Parr LEATHER AND CitotH LEeccincs Worn By Enrico Caruso IN 


S OPERA 


Black calf, buttoning up sides; other pair similar, in black cloth. 


906—Turer Pairs or EmMpromerED Leccincs Worn sy Enrico Caruso In 
OPERA 
gl 6) (a) Crimson velvet, embroidered in gold with scrollings and trimmed 
7, with filigree gilded buttons. 
(s) Lavender leather, embroidered with silver paneled scrollings. Lace 
up sides. 
(c) Blue cloth, embroidered with elaborate all-over scrollings in gold; 
trimmed with gilded buttons at sides. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


907—Turee Pairs or LeatrHER Leccincs Worn By Enrico Caruso 1n OPERA 

3 Two pair brown leather, buttoning up at sides; one pair embroidered 

e with gold spangles and scrollings. Third pair buff suéde trimmed with 
scrolled panels of yellow morocco leather. 


908—Two Vetiver Hats Worn sy Enrico Caruso 1x Opera 
(a) Black velvet tricorne, trimmed with gold galloon and crimson 
i D. feathers. ; 


(8) Brown duvetyn, with flat crown and broad brim; trimmed with pink 
velvet ribbons. 


9094-TuHREE EmpromwERED Cars Worn sy Caruso IN OPERA 


(a) Red cloth fez, embroidered with scrollings in gold threads and pail- 
lettes ; long black tassel. 


(s) Crimson velvet fez, with silver braid embroidery and blue tassel. 


(c) Red cloth Albanian cap; embroidered with silver scrollings and silk 
medallions; black tassel at back. 


910—Inp1an EMBROIDERED Crimson TurBAN Worn sy Caruso IN OPERA 


5 Crimson silk, embroidered with diamond trellis enclosing blossoms. 


911—“THreE Fett anp Citotru Sorr Hats Worn sy Enrico Caruso 1n Oprra 


Q Two of brown felt; other ight blue cloth trimmed with blue velvet. 


[ 9124-TuHree HicH-crownep Fett Hatrs Worn sy Enrico Caruso 1s OPERA 


Gray, green and tan; two with embroidered velvet bands, the green with 
lavender cord bowknotted. For the character of “Julien.” 


rc 913—Turee Pair LeatHerR GauntTLETs Worn sy Enrico Caruso in OPERA 
) : ; : 
fa White, red and gray leather, variously embroidered on the gauntlets. 
914—Turee Parr or LeatHer GAuNTLETS Worn By Enrico Caruso IN 
» & OPERA 
J ‘ Purple, gray and white, the two latter embroidered in gold threads with 


scrollings on the gauntlets. 


915—Fovur Parr or LreratrHeR GAUNTLETS Worn sy Enrico Caruso IN 


| f ; OPERA 


Two white, gray and brown; two embroidered; the brown slashed with 
crimson silk at gauntlets. 


Third Afternoon 


916—-Eicut Ostrich Prumres Worn on Harts sy Enrico Caruso in OPERA 


Two long white, one gray-black, one pale blue, one pink, one gray and 
. two small green plumes. 


917—Five Sirk SasHoes Worn sy Enrico Caruso In Opera 
(a) Blue silk, trimmed with bullion fringe. 
30, (8) Crimson and pink, with floral squares and gold fringe. 
(c) Liberty green and gold water motived silk; fringed. 
(>) Dark gray crépe silk, trimmed with silver galloon and cut-steel 
fringe. 


(z) Old-red crépe silk, with silver galloon and fringe. 


918—Five Lace anp Lawn Buovuses Worn sy Enrico Caruso tn Opera 


(x) Two lawn blouses, with Renaissance lace jabot. 


fo (a) Lawn blouse, with deep lace cuffs. 
& 


(c) Tan silk band, with floral lace jabot and cuffs attached to cross- 
bands. 


(>) Oval lace and lawn jabot, with bands and flap. 


919—FEicut Lacr anp Lawn Jazots Worn By Enrico Caruso In OPEra 
(a) Two cream silk banded jabots, with lace fronts and cuffs. 
[0 (s) Two Brussels net jabots, with bands. 
(c) Three lace jabots on long lawn bands. 


(p) Lace jabot, with lawn apron and tieing bands. 


920—Five Lace Rurriep Biouses Worn sy Enrico Caruso 1x Opera 
5d (a) Two cream silk blouses, with long sleeves and ivory lace floral 
we ruffles. 
(zw) White silk crépe blouse, with long sleeves and deep ivory silk lace 
ruffles. 
(c) Two white lawn blouses, with long sleeves and deep floral ivory lace 
ruffles. 


921—Five Lace Japots AND Sink BuiovusE Worn By Enrico Caruso In 


; OPERA 
eae (a) Three lawn fronted jabots, enriched with ruffles of varied floral 
Renaissance lace. 
(s) White silk blouse, with long sleeves finished with deep silk floral 


lace. 
(c) Two lawn banded jabots, with lace at ends. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


922—-Four Linen anp Lacrt anv Sitxk Biovusrts Worn sy Enrico Caruso 
IN OPERA 


FS. (a) Four linen lawn blouses, three trimmed with lace ruffles, other with 
lawn ruffles, 
(s) Cream silk blouse, trimmed with floral lace jabot and Venice lace 
ruffles. 


923—Turere LeatrHer Betts Worn spy Enrico Caruso In Opera 


ie Two brown suede. Mounted with pierced heart-shaped buckles. One 
e 


in green suede with large open silver oblong buckle. 


924—Turee Buack LEatHEeR Betts Worn spy Enrico Caruso IN OPERA 


Broad patent leather, with holster; enriched with engraved silver-plated 
aJ¥ buckle, loop and tip. Cartridge belt quilled with red leather. Patent 
leather belt with large engraved silver-plated buckle. 


925—Turee SuHounper Knots anp THrEE Betts Worn sy Enrico Caruso 


IN OPERA 
5) Shoulder knots variously of gold and silver galloon and gold and black 
cord finished with gilded points. Belts of silver embroidered yellow vel- 
vet, black velvet with blued steel ornaments and red cloth having gilded 
buttons. 


926—Four Decorate Beitr PoucHrs Worn sy Enrico Caruso In OPERA 


n (a) Pale green velvet, enriched with gilded medallions, studs and 
3 ‘ borders. 
(x) Brown leather, enriched with rose-pink velvet panels, straps and 
borders; trimmed with steel. 
(c) Purple velvet; embroidered in silks and silver with stellate flowers. 


(p) Yellow silk, trimmed with galloon, tassels and gilded open floral 
medallion, | 


927—Turee Mountep VELVET Sworp Breutrs Worn spy Enrico Caruso IN 


RY NY OPERA 
| 3 Purple and green velvet, elaborately mounted in polished steel with 
leonic medallion buckles and faceted rosettes. The third pale blue, 


embroidered with scrollings in gold and spangles. Mounted in gilded 
brass with buckles, leonic heads and honeysuckle plaquettes. 


Third Afternoon 


928—-MEXICAN SILVER-HANDLED LEATHER-THONGED WHIP FOR THE CHARAC- 
56 TER OF “Dick JOHNSON” 
° Opera, “The Girl of the Golden West.” 'Tapering handle of corded 


twine, interrupted by collars of silver and ferrules; broad leather thong. 


929——Larcr Horn-HANDLED COUTEAU FOR THE CHARACTER OF “Don Jost” 


1S Opera, “Carmen,” by Bizet. Curved horn handle and blade with spring 
i back. 


930—Two Antiqurt LEATHER-SHEATHED Daccrrs Worn sy Enrico Caruso 
9 ray IN OPERA 
[Th (a) Broad channeled spear-shaped blade with brass guard and bone 
grip ruffed with diamond lattice. 
(zs) Spear-shaped blade, with silvered guard and spirally twisted grip 
terminating in scrolled medallions. 


931—Turee EvasoraTE Daccers Worn sy Enrico Caruso in OPERA 
(a) Renaissance style, with lavender velvet sheath, brass cruciform grip 
50. and guard enriched with openwork bosses. 
(se) Curved blade, with gray leather sheath, brass scroll guard and 
painted grip. 
(c) Renaissance style, with curved blade in crimson velvet sheath and 
silvered notched grip enriched with floral scrollings. 


932—Scorcu SinvER AND Esnony Mountep SKkeNE DuHv For THE CHARACTER 
a) of ““EpGarpo” By Forsyth of Glasgow 
yf : Opera, “Lucia di Lammermoor,” by Donizetti. Black leather sheath, 
mounted in engraved silver and fitted with fork, knife, long dagger; 
separate small coup-de-grace dagger. Grips of ebony carved with 

entwined cord motives. In black leather case. 


933—Six Sworp SHEATHS WorN By Enrico Caruso IN OPERA 


30. Variously mounted and covered in crimson, pink, black and green vel- 
vets; one with black leather. ‘Two fitted with swords having no hilts. 


934—TureE LeaTHER-SHEATHED Sworps Worn By Enrico Caruso in OPERA 
(a) White leather sheath; mounted in silver plate. Long tapering 
56 . blade, wire grip, scrolled round pommel and spirally twisted guards. 
(3) Curved blade in black leather sheath; gilded empire scrolled grip. 
(c) Tapering walking sword in black leather sheath. -Silvered wire 
grip; oval and angular guards. Chain for suspension to belt. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


Sb 935—STEEL Sworp, PurpLe SuHeatH Povucu Anp Brett Worn sy Enrico 

ff. Caruso IN OPERA 

} Tapering triangular blade; with wire grip, scalloped and basketed hilt, 
expanding cross guards and curved knuckle guard. Velvet belt and 
pear-shaped pouch, enriched with cut steel, gadrooned bosses and open 
medallions. 


9386—Court Sworp, VELVET SHEATH AND SHOULDER Brett Worwn By Enrico 
$O Caruso IN OPERA 
JQ: Tapering slender oval blade, with mounted turquoise velvet sheath, 
hooped and scrolled hilt and guards enriched with shell motives and 
scrolls; lozenge-shaped grip with pear-shaped pommel. Narrow tur- 
quoise velvet belt and lighter velvet shoulder strap embreviea as in gold 
threads with scrolled diamond motives. 


937—Court Sworp anp Brett Worn sy Enrico Caruso in OPERA 
$0 Slender tapering diamond blade, with gilded lobed hilt, looped and 
| T scrolled guards and round pommel enriched with military trophies; wire 
grip. Gold galloon belt having large gilded buckle. 


938—Court Sworp ano Brett Worn sy Enrico Caruso In Oprra 


Tapering diamond blade, with polished and engraved steel basket hilt, 

30. elaborately scrolled guards, wire grip and fluted oval pommel. Sheath 
covered in brown suéde leather. Lavender velvet belt adorned with 
gilded scrolled plaquettes and buckles. 


939—Covurt Sworp AND Brett Worn sy Enrico Caruso In OPERA 


$6 Tapering triangular channeled blade, with curious polished steel basket 
2} hilt, scrolled guards, wire grip and spirally twisted round pommel. 
Mounted sheath of light brown leather. Leather belt, enriched with 

polished steel plaquettes and faceted bosses. 


940—Two Parr Stree, Spurs For CHaracter “Dick JOHNSON” IN “THE 
7.50 GirL oF THE GOLDEN WEsT”’ 


Both with large stellate rowels and black leather thongs at back and 
over boots. 


941—TureEEe Pairs or Spurs Worn By Enrico Caruso 1n OPERA 
si 0 (a) Gilded; with balustered pinnacles instead of rowels. 
| Je (3) With small round rowels and patent leather bands. 


(c) Cut steel, with curiously angled stellate rowels. 


Third Afternoon 


942—Two Pairs or Spurs Worn sy Enrico Caruso 1n OpEra 


/2 50d (a) Gilded; with scrolled hoops and supports having stellate rowels. 
e 


JS. 


| 0. 


(ws) Cut steel; with angled arms having stellate rowels. 


PAINTINGS IN OIL AND PASTEL 


JOHN W. CASILEAR, N.A. 
AMERICAN: 1811-1893 


944—A SUMMER AFTERNOON 


Height, 8°34 inches; length, 14 inches 


Level green fields of early summer—the time of the first haying—extend across 
the picture, with a farmhouse and other farm buildings and numerous trees 
observed in the middle distance, in sunshine and shadow, and beyond them in 
the distance a range of mountains grayish in a vague haze. In the foreground 
at right a wagon heaped high with freshly mown hay, and drawn by a yoke 
of red oxen, led by a man astride a white animal. Other men are at work 
about the hay-load and elsewhere in the fields. 


Signed at lower right, J. W. C., 778. 


ITALIAN SCHOOL 


NINETEENTH CENTURY 


945—INDEPENDENCE OF NAPLES, SEPTEMBER 7, 1860 


Height, 101% inches; length, 1584 inches 


In the foreground a great square, and entering from the right a triumphant 
procession of carriages filled with citizens, who are waving flags and banners 
and their hats and arms. Going and coming through a winding street leading 
to the background are other citizens, in a dense throng, while in windows and 
balconies of the many-storied buildings at either side still more of the citizenry 
join in the joyous celebration and hearty acclaim. 


YO. 


10. 


Kindly read the Conditions under which every item is offered 


and sold. They are printed in the forepart of the Catalogue. 


MODERN ITALIAN SCHOOL 
946—THE SEA: ISCHIA 
(Pastel) 
Height, 174% wmches; length, 1914 inches 

In the foreground the gray-green waters of the bay moving in from the left, 
and the receding waves marking with white loops of foam the low sandy shore 
at the right, where Neapolitans in vivid colors are seated in groups or indi- 
vidually paddling in the waves. In the middleground a higher shore crowned 


by green trees at right and sending a bare and rocky projection into the 
water toward the left. In the distance the buildings of a town. 


Signature (undeciphered) at lower right. 


MODERN ITALIAN SCHOOL 


947—SCENE FROM THE OPERA “AIDA” 

Height, 16 mches; length, 20 inches 
The observer faces the stage, where singers in dramatic attitudes appear in 
a strong light before a landscape setting. In the foreground the darkened 
auditorium is filled, the figures of the audience indefinite in the darkness, save 
that the shoulders of ladies in evening dress make themselves visible in the 


row nearest the observer; and against the soft glow of the musicians’ lights 
there rises the figure of the conductor, arms raised, baton in hand. 


MEXICAN SCHOOL 


NINETEENTH CENTURY 


948—AN ANCIENT SPANISH MONASTERY 
(Mill-board, peaked at crown) 
Height, 47 inches; length, 4714/2 inches 
A vista of ancient conventional buildings situated at the foot of blue and 


lavender mountains; seen through a valley between two green hills crested by 
tropical trees and vegetation. 


Third Afternoon- 


ANTIQUE ITALIAN FURNITURE 


949—Two SIxTEENTH CENTURY ITALIAN Watxnut Cuarrs 


[ (9. Sgabello character. Shaped backs, with scrolled sides enclosing a 
crowned shield carved with the coat-of-arms of the Albergotti family 
of Arezzo. Octagonal molded seat, and lyre-shaped front support 

_carved with side scrollings and a large grotesque mask. 


950—Two SixrrEntH Century Iranian Watnut Cuarrs 


Similar to the preceding. 
| 4 oF From the Davanzati Collection. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


951-—Two SixreenrH Century Umsrian Waxtnutr Armcuairs 
RO Straight backs, with square side supports ending in turned finials and 
: with plain horizontal splats supporting, by an arcade of four turned 
spindles, shaped top rails carved with the coat-of-arms of the Vitelli 
di Citta Castello family, surmounted by a bishop’s hat. The straight 
arms are supported on turned columns, the straight legs are square, 
the broad front-rails are pierced by a geometrical design and the side 
and back rails are square. Remarkable patina due to age. With small 
cushions of antique red brocade. 


From the Davanzati Palace. 
(Illustrated) 


952—Two SrxTEENTH CENTURY UmBRiAN Watnut ARMCHAIRS 


je 


Similar to the preceding. 


Third Afternoon 


953—Two Carvep WaLnut STATE CHAIRS Italian Renaissance 


with open scrollings and cartouche. Open scrolled arms having balus- 
tered supports; molded wood seat. On square legs having similar tab- 
leted stretcher to pediment and minor scrolled stretcher under. 


[30 Open back, with scroll-mask terminals, two tableted cross splats enriched 


954—SixTEENTH CENTURY ITALIAN BEEcHWoop MownastTEryY CHAIR 


‘) 5. Folding type. Formed of square supports and with shaped head rail 


incised with radiating lines and square base rails. 


955—SIxTEENTH CENTURY ITALIAN BrEcHWoop Monastery CHAIR 


Folding type. Formed of square supports and with shaped head rail 
3 0 ‘ incised with radiating lines and square base rails. 


From the Volpi Collection. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


956—SIxTEENTH CENTURY ITaLIAN WatnuTt “SavonNaroLa” CHAIR 


Curved sides and legs formed of eight square interlacing supports pivoted 
/4. so as to fold. Straight scrolled arms, shaped back and straight base 
rails. 


From the Davanzati Palace. 


957—Setr or Four SIxtEENTH Century Irarian Watutnut ARMCHAIRS 


Straight square backs with acanthus carved finials and arcaded head 

0. rail supported by six spindles turned in baluster form. Molded wooden 
seats with arcaded apron and supported by turned spindle, straight 
square legs and square front rails. 


Will be sold with the privilege of the purchaser taking two or four chairs. 


From the Volpi Collection. 


958—SIxTEENTH CENTURY FLORENTINE Rounpasour Watnut ARMCHAIR 


Semicircular shape. Open back, formed of seven turned spindles with 
oD flat head rail and shaped wooden seat with molded and fluted edge. On 
; three spreading straight turned legs of baluster shape. 


From the Volpi Sale. 
(Illustrated) 


959—Carvep Waxtnour Center Taste Spanish Late Seventeenth Century 
Oblong top; supported on lyre-scrolled framed ends. Enriched with leaf 
[40 : and scroll motives. Reinforced by balustered scrolled iron brackets from 


stretchers to underneath top. 4 
Height, 31 inches; length, 42% inches. 


(Illustrated) 


No. 958 


No. 959 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


960—Carvep Watnut Draw Extension Tasie Italian Renaissance 
Framed oblong top; with end draw-extensions, molded frieze with finely 
500. turned pendants at corners and bracketed vase enrichments at ends. 
Supported on leaf-adorned end baluster-legs having scrolled cross feet 

and central stretcher beautifully arcaded. 


Height, 2 feet 5 inches; length, 4 feet 4 inches; extended, 8 feet. 


(Illustrated) 


961—SixtEENTH CrentTuRY Bresctan WaLNuT CABINET 
Rectangular shape. Molded and dentelled top, the frieze fitted with 
rl ERS three drawers having paneled fronts and bronze knobs. Separated and 
flanked by voluted medallions with imbricated fronts. Below, the body 
is arranged as a cupboard with three hinged doors, having molded pan- 
eled fronts, each with two raised panels inlaid in a design of Renais- 
sance arabesques, separated and flanked by Ionic pilasters with shafts 
of female caryatids having acanthus-leaf and tapering imbricated ter- 
minations. Plain plinth and molded base. 


Height, 4 feet 4 inches; width, 6 feet 10 inches; depth, 2 feet 2 inches. 
From the Volpi Collection. 
(Illustrated) 


962—Carvep Watnut Fovurrost Trster Bev ann Lace Cover.Let 
Italian Renaissance 


As ‘e) Oblong paneled headboard, enriched with oval medallion occupied by a 
; figure allegorical of “Pomona,” standing beside a cornucopia of fruit, 
a sickle in her upraised right hand; flanked by arabesque scrollings. 
Open leaf-scrolled pediment, centered with a winged cupidon head. Sup- 

ported on expanding reeded posts with cupidons at rail-heads and bossed 
vase-shaped legs. Leaf and spirally gadrooned rails. Large molded 

tester, adorned with further spiral gadroons, leaf and husk motives. 

Covered and valanced with florally patterned crimson damask. Gothic 

and Milanese lace coverlet, developing broad bands of Milanese floral 

lace interrupted by chevroned linen bands. Finished with Vandyked 

Gothic lace. Point d’esprit net curtains, boxspring and mattress for 


same. 
Height, 9 feet 1 inch; length, 7 feet 31 inches; width, 5 feet 5 inches. 


No. 960 


No. 961 


INTRODUCTION TO THE CATALOGUE OF ENAMELS AND 
BRONZES FROM THE COLLECTION OF THE LATE 
ENRICO CARUSO 


The collection of Enamels and Bronzes here described is of the finest. 
There are assembled pieces of great artistic beauty and finish. Most of them 
formed part of the J. Pierpont Morgan Collection, and a great number of 
them have formerly belonged to very famous collections, such as the Spitzer 
Collection, the Bardac, the Schevitch and others. 

In the collection of Enamels are grouped not only some of the best pieces 
of the Limoges productions of the late fifteenth and early sixteenth centuries, 
but the examples represented are varied in kind and character, representative 
of the workmanship of a number of artists of the time, and they display 
specimens beginning with the primitive school of painted enamels, down to 
the late sixteenth century. There is the charming little Annunciation cf the 
last quarter of the fifteenth century, by Monvaerni; there is the Adoration 
of the Magi attributed to Nardon Pénicaud; there are the two famous plaques 
representing the Descent from the Cross and the Entombment, by Pierre Rey- 
- mond, coming from the Schevitch Collection, and among the best examples 
of the artist’s work; there are equally two other plaques by Jean III Pénicaud 
from the Spitzer and Maurice Kann Collections, which figured at the exhibition 
in Paris in 1900, and were always spoken of as masterpieces of the enameler’s 
art; there are also two plaques of marvelous coloring by Léonard Limousin, 
formerly in the J. Pierpont Morgan Collection, and a number of other pieces, 
all of great interest and beauty. 

The collection of Bronzes is none the less interesting. It includes pieces 
of great importance, such as the equestrian figure formerly in the Pfungst 
and J. Pierpont Morgan Collections, or the beautiful statuette of a bear by 
Riccio from the Bardac and J. Pierpont Morgan Collections, which is the best 
specimen of its kind, and is far above in quality from the statuettes represent- 
ing the same subject, in the National Museum in Florence and in the Berlin 
Museum. There is also a fine example of the famous figure of Morgante, the 
Court Dwarf of Cosimo I de’ Medici; an interesting pair of candlesticks by 
Alessandro Vittoria, formerly in the Rodolphe Kann and the J. Pierpont Mor- 
gan Collections. There are also two lamps from the workshop of Riccio, a 
fine example of the Spinario statuette and many other specimens of fine bronzes 
of the fifteenth and sixteenth centuries. 

Both in the field of the enameler’s art of French origin, as of Italian 
Renaissance Bronzes, the collection here assembled offers famous and represen- 
tative examples. 

STELLA RUBINSTEIN. 


FOURTH AFTERNOON’S SALE 
THURSDAY, MARCH 8, 1923 


IN THE ASSEMBLY HALL 
OF 
THE AMERICAN ART GALLERIES 
BEGINNING AT 2.15 0’CLOCK 


Catalogue Numbers 963 to 1137, inclusive 


EARLY GREEK AND EGYPTIAN BRONZES 


Including Specimens from the J. Pierpont Morgan, Kann and Other 
Celebrated Collections 


963—BronzE STATUETTE Etruscan or Archaic Greck 
Of a Greek Satyr, with tail and hoofs of a horse. He carries an amphora 
/ fo. over his shoulder. On a marble stand. 


Height, 3% inches. 


964—Trrra-corta Hrap or APHRODITE Greek, Second Century B.C. 
On a marble stand. 


/ ou) Height, 3% inches. 
® 


965—Bronze Ecyptian SPHINX Egyptian, Saite Period 


With human head and arms, and the body of a lion. On the forehead 
b £o is a ureus. The arms are held out from the elbows, each hand holding 
‘ a piece of metal. This fine little work is no doubt a contemporary work 
after the stone portrait Sphinx of King Apries (589-570 B.C.), now in 
the Louvre, and from this example we may conclude that on the pieces 
of metal noted was once fastened a large patera. 
Length, 4 inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


966—BronzE STATUETTE Egyptian, Saite Period 
Of the Egyptian goddess Ubasti, with the head of a cat. She wears at 


/0, her breast the lon egis. 


Height, 51%, inches. 


(Illustrated) 
967—BronzE STATUETTE Archaic Greek 
% a Of a Greek Satyr, with tail and hoofs of a horse; with a fine green 
a e patina. 
Height, 414 inches. 
(Illustrated) 
968—BronzE STATUETTE Egyptian, Saite Period 


Of the Egyptian god Anubis. 
/0 Height, 51% inches. 
: (Illustrated) 7 


969—Sranpinc Bronze Mummy Ficure Egyptian, Ptolemaic Period 
Of Osiris. 


/ C0 Height, 1034 inches. 
é 


970—Bronze Ficure 
Of a man with his arms held forward, and wearing a short skirt falling 
”) Zz) 5S from the waist. The figure is obviously of Semitic origin, and must date 
some considerable time B.C. Statuettes of a similar type have been 
excavated in Mesopotamia, to which region this figure evidently belongs, 
but it would be unsafe at present to ascribe to it a particular national 
origin. The patina does not suggest a pre-Assyrian period, which is 


often assigned to such figures. 
Height, 1434 inches. 


968 


966 967 


EaGyptiaAN AND GREEK Bronze STATUETTES 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


971 972 
971—SiLvER STATUETTE oF APOLLO Roman, First Century A.D. 
528. On a lapis-lazuli stand. Height, 4% inches. 
972-—BronzE STATUETTE Gallo-Roman, about Second Century A.D. 
s) 50 Of a nude woman holding up her left leg with her right hand. There 


was a Greek statue of this figure, and some Roman copies of it have 
come down to us. On a lapis-lazuli globe. Height, 5%, inches. 


Fourth Afternoon 


973 974 


973—NuveE Bronze Ficure or Minerva Roman, about Third Century A.D. 


| oF She wears a helmet and holds a fold of drapery over her right arm. 


Height, 534 inches. 
974—Bronzre STATUETTE OF VENUS ANADYOMENE 


Gallo-Roman, about Second Century A.D. 

/ b 0 After the celebrated painting of Apelles (which was in Rome during 
the greater part of the first century A.D.). On a lapis-lazuli base. 

Height, 5%, inches. 


Kindly read the Conditions under which every item 1s offered 
and sold. They are printed in the forepart of the Catalogue. 


EARLY ITALIAN RENAISSANCE BRONZES 


975—SIxTEENTH Century Iratian Mepa 
o On the obverse the head of Lodovico Gonzaga; on the reverse, the figure 
he of a knight with the signature, “Opus Posani Pictoris.” 
Diameter, 3°34 inches. 


From the Countess Stroganoff Collection of Rome. 
From the Davanzati Sale. 


(Illustrated) 


976—FirTEENTH Century Iratian Bronze Mepatuion sy BEL 
Oval shape, with molded border. Modeled, in low relief, with a subject 
of an “Entombment.” Signed below: “vatERIvs DEcIUS VICEN.” By 


/ loys) Valerio Belli, known as Vicentius (1465-1546). 


Height, 31/, inches; width, 4 inches. 


(Illustrated) 


977—FirTEENTH Century Iranian Bronze Meparrion 
Circular shape, with beveled rim. Modeled, in low relief, with a “‘Pieta.” 
At the foot of the cross the Virgin, assisted by Angels, is supporting on 
/£6 _her knees the body of Christ, which has been lowered from the cross. 


Diameter, 3% inches. 


(Illustrated) 


977 


Merpa.uions 


FIFTEENTH AND SIXTEENTH CENTURY BRONZE 


975 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


978—Mepat RepresentTiING Ranutivs II Farnese, Duxe or Parma Anp 
PIACENZA Italian Seventeenth Century 

The Duke is represented turned toward the right with long floating hair, 

wearing a richly ornate armor over which is draped a mantle. Around 

O. his neck is a lace necktie. A running inscription reads: RANUTIUS . 
II. PARMAE , ET , PLACENTIAE . DUX . ET. Under the arm 

at the left is an unreadable signature. | Diameter, 41, inches. 


(Illustrated) 


979-—Mrpaut Representine Francis IV, Duce or Mantua 
Made by Guillawme Dupré m 1612 
The Duke is represented turned to the right in a richly ornate armor. 
A running inscription reads: FRAN . III] . D.G.DUX-MANTU - 
MONT - FER . III. I. AET . XXVI._ Its complete meaning is: 
‘Ove Franciscus IV, Dei Gratia, Dux Mantuae, Montis Ferrati, tertius, anno 
primo, aetatis XXVI. Signed under arm at left: G. Dupré . F . 1612. 
Dupré (Guillaume). Born about 1576-1643. Active between 1597-1643. Was 


general controller of designs at the Paris Mint under the reign of Henry IV and 


Louis XIII. Diameter, 6%, inches. 


(Illustrated) 


980—Mepar Representine Louis XII (1462-1515) anp Anne or Brirrany 
(1477-1514) 
By Nicolas Leclerc, Jean de Saint Priest and Jean Lepere; French, 1500 


Louis XII is represented against a background of fleurs-de-lis. He is 
seen turned to the right, wearing a soft hat with a turned-up rim, over 
which is placed the royal crown. Around his neck is suspended the collar 
of the Order of Saint Michael. ‘The border shows a lion turned to the 
EB Aes left, which are the arms of the city of Lyons, and a running inscription 
which reads FELICE . LUDOVICO . REGNATE . DUODECIMO . 
CESARE .. ALTERO . GAUDET . OMNIS . NACIO. 
The other side of the medal shows Anne of Brittany against a background 
of fleurs-de-lis and of ermine (the latter is the emblem of Brittany). 
She is turned toward the left and wears the royal crown over a head- 
dress falling loose to her shoulders. A necklace is around her neck. 
On the border is the same lion as on the other side, and a running 
inscription which reads: LUGDUN.REPUBLICA.GAUDETE.BIS. 
ANNA.REGNANTE.BENIGNE.SIC.FUI.CONFLATA. 1499. 


Diameter, 4%, inches. 


This medal, of which there are many examples in museums and private collections, 
was made in honor of the visit which Anne of Brittany and Louis XII paid to the 
city of Lyons in 1499. The first medal, presented to the queen, March 15, was made in 
gold, and does not exist any more. Other examples in silver and gold are still extant. 

Bibliogr—Mazerolles: Les médailleurs francais du 15 au 17 siécle. 


(Illustrated) 


978 


Iratian AND FrenNcH Bronze MEDALS OF THE FIFTEENTH AND SEVENTEENTH CENTURIES 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


ANDREA BRIOSCO cattep IL RICCIO 


Born about 1470; died in 1582 


981—Bronze PLaQuETTE Paduan Early Sixteenth Century 
Representing the triumph of a hero. In the center is standing the naked 

hero, his right hand resting on a horn of plenty. At his left is a vase 

with laurel leaves from which issues a serpent, the symbol of envy. <A 

Spice winged Victory is seen next to the youthful hero and her hand reposes 
on his shoulder. Behind her are two female figures in caskets holding 

standards and laurel branches. At the right is represented a sacrifice 

scene and behind are two youths blowing trumpets and an old man 


assisting at the scene. 
Height, 3 inches; width, 4 inches. 


Published in “Trésor de numismatique et de glyptique, Recueuil général 
de bas-reliefs,” II, pl. 6, No. 4. 


Identical plaquettes are in the Berlin Museum, mn the Lowore, in the 
Correr Museum in Venice, in the Gustave Dreyfus Collection m 
Paris, in the Vasset Collection, etc. 


Reproduced in Fritz Knapp: “Die Italienischen Bronzen in the Berlin 
Museum,” pl. 47, No. 701, and in Molinier: “Les Plaquettes,” Vol. 
I, p. 169, No. 233. 


The subject seems to have been taken from a sarcophagus relief, 


(Illustrated) 


982—FourTEENTH CENTURY PAapUAN Bronze PLAQUETTE By Pisano 


Rectangular shape. Modeled, in low relief, with a half-length figure of 
the Virgin, her face to the right, wearing a diadem, and with a hooded 
mantle, holding in both arms the undraped figure of the Child Christ. 
At either side are candelieri, with putti having vases of flames on their 
ome. : heads, and below a festoon of drapery. By Giovanni Pisano (1250- 


1329). 
Height, 4 inches. 


Other examples are in the Louvre and Berlin Museums. Illustrated, No. 367, in 
Molinier’s “Plaquettes,” and Berlin Catalogue, Plate XLVI. 


(Illustrated) 


982 


No. 981—Bronze PuaguettE By ANDREA Briosco caLtLEep Int Riccio 
(Paduan Early Sixteenth Century) 


No. 982—Bronze PuaguetTre BY Pisano 
(Paduan Fourteenth Century) 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


983—LatE FirrEENTH CENTURY NortH ITatiAn PLAQUETTE BY MopERNO 


Rectangular shape. Modeled, in low relief, with a “‘Presentation in the 
Temple.” In a vaulted interior the Virgin extends, across an elaborately 


— 6 decorated altar, the undraped Child Christ to the High Priest, who faces 


her. Figures of St. Joseph and attendant priests complete the compo- 
sition. By Il Moderno (Fifteenth and Sixteenth Centuries). 


Height, 4 inches; width, 234 inches. 


Other examples are in the Louvre and Berlin Museums. Illustrated, No. 169, in 
Molinier’s “Plaquettes,” and Berlin Catalogue, Plate LI. 


Fourth Afternoon 


984—SIxTEENTH CENTURY FLoRENTINE Bronze PLAQUETTE By SANSOVINO 
Rectangular shape. Modeled, in low relief, with a subject of “Our Lady 
of Loreto.” The figure of the Virgin seated on the roof of a church 


and holding on her knee the erect figure of the Child Christ. In the 
7 be distance is the Campanile of the Chiesa della Casa Santa, at Loreto, 
and below are cherubim. By Jacopo Tatti—Il Sansovino (1486-1570). 


Height, 4°4 inches; width, 4 inches. 


Another example is in the Berlin Museum. Illustrated, Catalogue Plate LXXXII. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


SIXTEENTH CEenTURY Bronze PLaquETTE BY SANSOVINO 

Rectangular shape. Modeled, in low relief, with the Virgin kneeling on 
the roof of a church. In her arms she holds the undraped Child Christ, 
O against whose face she presses her own. In the distance is seen a cam- 
’ panile, while below are cherubim. By Jacopo Tatti—Il Sansovino 
(1486-1570). 


985 


Height, 634 inches; width, 41% inches. 


Fourth Afternoon 


986—FirtreENtH Century Iranian BronzE PLAQUETTE BY SANSOVINO 


Rectangular shape, with molded frame. Modeled, in low relief, with a 

Virgin seated under a canopy on a stone seat, with a vase of lilies beside 

her, a closed book in her right hand and with her left holding on her 

wd 7 lap the Child Christ. Standing at her side and looking upwards is the 
©. infant St. John the Baptist. By Jacopo Tatti—II Sansovino (1486- 


1570). 
Height, 61% inches; width, 442 inches. 


Other examples are in the Louvre and Berlin Museums. Illustrated, Berlin Cata- 
logue, Plate LXXI. 


Kindly read the Conditions under which every item is offered 


and sold. They are printed in the forepart of the Catalogue. 


987—Bronze Praquerte Retier REPRESENTING THE VirRGIN AND CHILD SuR- 
ROUNDED By ANGELS AND Two SAINTS 
Florentine Late Fifteenth Century 
Attributed to Antonio del Pollajuolo. In the upper part is seen the 
Virgin in an oval surrounded by clouds from which emerge seven heads 
of winged angels. Four naked and winged angels assist the ascension 
of the Virgin, while two others are seen robed, with hands folded in 
adoration. The Virgin is represented standing, wearing a gown in the 
fashion of the time, and a mantle coming down from her head over her 
back and draped in front over the lower part of her gown. On her head 
is a crown seen also on the head of the Infant Jesus, whom she is sup- 
porting on her left arm and who is giving the benediction with His right 
hand while holding the globe with His left. 
In the lower part of the plaquette are seen two Saints kneeling. The 
one at the left is Saint Crescentius. He is youthful and wears a mantle 
draped around his left shoulder and over the lower part of his gown. 
He is holding a banner in his right hand. Looking up toward the Virgin, 
he is presenting to her a model of the city of Urbino, which he is holding 
in his left hand, and of which he and the Virgin were Patron Saints. 
At the right kneels a bishop Saint whom it was impossible to identify. 
He undoubtedly was the Patron Saint of the donor, whose arms, com- 
posed of a griffon and a cardinal’s hat, are seen below. It is difficult 
to state positively to whom the arms belong, as the colors of them are 
not indicated and as arms with a griffon belong to a great number of 
Italian families. It is very possible that they refer to the Martelli 
family of Florence. 
Height, 7% inches; width, 5% inches. 


(Illustrated) 


Note: Saint Crescentius lived in the third century A. D. He was a Roman soldier, 
but after having been converted he gave away his riches and retired to the Citta di 
Castello. He was decapitated for professing the Christian religion, and when in 1068 
his reliques were transported to Urbino, he became the patron Saint of the city. The 
banner is his most popular emblem. 


No. 987—Bronze Piaguette Revier REPRESENTING THE VIRGIN AND CHILD SuR- 


ROUNDED BY ANGELS AND Two Saints (Florentine Late Fifteneth Century) 


/ p 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


988—FirrEENTH CENTURY FERRARESE Bronze PLAQuETTE By CASTELBOLO- 
GNESE 


Rectangular shape, with round arched top. Modeled, in low relief, with 
a subject of the Adoration of the Magi. The Virgin, with the Child 
Christ on her lap, sits on the left, with St. Joseph behind her. Before 
her kneels Caspar, with his crown by his side, offering a vase, while 
behind him stand Balthasar and Melchior holding their offerings. In 
the background is a gabled building, and above, a star with a guiding 
ray of light.. By Giovanni Bernardi da Castelbolognese (1496-1533). 


Height, 4 inches; width, 2% inches. 


Other examples in the Louvre and Berlin Museums.  Llustrated. Catalogue, 
Plate LXIX. 


Fourth Afternoon 


989—Bronze Pax RepresENtTING THE PieTA 
Italian, Paduan, Siateenth Century 


The scene is represented in an architectural niche decorated with 


5 cherubs’ heads and festoons. At the foot of the Cross is seated the 
~ Virgin holding on her lap, on a shroud, the body of the dead Christ. 


At the right kneels Mary Magdalen in profound sorrow. 


Height, 6% inches; width 38% inches. 


990—Foor wirH Mirirary Sanda Early Imperial Roman 


Carved in chalk. 


Se Length, 4 inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


991—-BronzEe Sratverre Representine a Cuitp PLayine wirH A Goat 
Italian Late Sixteenth Century 
On an oval low base is lying a goat, and on its back is seen a child with 
curly hair represented naked. He is holding with both hands the goat’s 
Ox: head, playing with it and holding it up close to his face. 


Height, 2° inches; width, 4 inches. 
Formerly in the Marquis de Pucci Collection, Florence. 


(Illustrated) 


WORKSHOP: OF GIOVANNI BOLOGNA 


992—Bronze StaTveTtEeE Representinc a Baruinc Woman 
Italian Late Sixteenth Century 
The young woman is represented naked, in a half-kneeling position, and 
drying herself after the bath. She is looking up with a frightened 
I5 o expression and has her hair elaborately dressed. On a round sloping 
: base. 
Height, 3°4 inches. 
Formerly in the Marquis de Pucci Collection, Florence. 


Statuettes of the same kind by Giovanni Bologna or by his followers are numerous. 
Among’ them there is one in the Berlin Museum, one in the National Museum in Flor- 
ence, and elsewhere. 


(Illustrated ) 


BY A FOLLOWER OF GIAN BOLOGNA, POSSIBLY BY 
FRANCESCO SUZINI 


993—VeENus AND CuPID Italian Late Sixteenth Century 


Venus is represented naked, drying herself after a bath. Her right 

foot rests firm on the ground, while the left one is placed upon a ped- 

ie estal. Next to her at the left stands the winged Cupid, his right leg 
O 


raised in the air and a bunch of arrows suspended. 
Height, 5% inches without base. 


Analogies with Venus and Cupid formerly in the J. P. Morgan Collection, repro- 
duced in Bode, “Catalogue of Bronzes in the J. P. Morgan Collection,” Vol. II, page 
108, No. 150. Three similar examples of Venus, but without Cupid, are in the National 
Museum, Florence, and many others are scattered in museums and private collections. 


(Illustrated) 


992 993 


Iratian Bronze STATUETTES OF THE LaTE SIXTEENTH CrenTuRY 


Kindly read the Conditions under which every item is offered 
They are printed in the forepart of the Catalogue. 


and sold. 


994— Bronze STATUETTE REPRESENTING AN ANATO- 


MICAL FIGURE Florentine, 

Middle of the Sixteenth Century 

Standing on his left foot, the right one raised 

from the ground, is a male figure resembling a 

skeleton. His left arm is raised above his head ; 
the right one rests on a club. 


Height, 7° inches. 


Formerly in the Charles Mannheim and in the 
Philip Lydig Collections. 


Reproduced and described in the Catalogue of 
the Philip Lydig Collection, 19138, page 
50. 


Statuettes of this kind are often attributed to 
Michelangelo or to his school, and his pupils Agrate and 
Cigoli are often credited with their execution. These fig- 
ures were not only used as artistic or, rather, anatomical 
studies, but they also seem to have been employed as 
religious emblems representing the dead for the last 
Judgment. 

At the Burlington Fine Arts Club in 1912, at the 
exhibition of Italian Sculpture and other Plastic Art, 
there were two anatomical figures of the same kind (see 
catalogue Nos. 71, 73), one from the collection of Sir 
F. Seymour Haden, the other lent by the Royal College 
of Surgeons. Other figures are in the Victoria and Al- 
bert Museum, two in the Louvre, of which one bears the 
No. 125 and comes from the Gatteaux bequest, one in the 
Berlin Museum, two in the National Museum in Flor- 
ence (two of them are small and one large), and else- 
where. 


Fourth Afternoon 


995—A Grovur 1x Bronze 


Soo 


Venetian School, About 1570 


‘Representing Eve with the Little 


Cain and Abel. Eve is represented 
naked, in the attitude of marching. 
She is holding on her left arm the 
naked Abel turned toward her, and 
with her right hand she is holding 
the hand of Cain marching beside her 
and equally represented naked. 


Height without base, 7% inches. 


Formerly in the collection of Baron 
Lazzaroni, 


There is in the Heseltine Collection in 
London an identical group, reproduced in 
Bode, “The Italian Bronze Statuettes of the 
Renaissance,” Vol. II, pl. 161. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


996—BronzEe STATUETTE Italian, Paduan School, Sixteenth Century 


5S0. 


Representing a woman playing the flute. By a follower of Maffeo 
Olivieri. The woman playing the flute is represented naked, her night 
leg slightly pushed back. Her hair, parted in the middle, is dressed 
high over her forehead. She is holding the flute with both hands and 
is playing on it. Standing on a high quadrangular wooden base. 
Height, 91% inches. 
Formerly in the Marquis de Pucci Collection, Florence. 
Another replica of the same statuette is in the Berlin Museum, reproduced in Fritz 


Goldschmidt: “Die Italienischen Bronzen der Renaissance und des Barocks,” pl. 60, 
fig. 200. 


Fourth Afternoon 


Pe Nemay ee 


997—Bronze STATUETTE oF Baccuus 


SO. 


Italian, Paduan School, Sixteenth Century 

Bacchus is represented full length, nude, with a goat’s skin falling from 

his right arm across a small portion of his body. He is standing on a 

small pedestal, his right arm resting upon the root of a tree. He is 

holding a bunch of grapes in his right hand while his left reposes on 
his hip. 

Height, 8° inches. 


Formerly in the Marquis de Pucci Collection, Florence. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


POSSIBLY BY PIETRO TACCA 


998—Bronze StaTuETreE Representinc a Running Man 

Italian Early Seventeenth Century 

The man is represented naked, in the act of running. His whole weight 

reposes on the toes of his left foot, the upper part of his body is thrown 

PvE: toward the left, his right arm stretched forward and the left one 
stretched in the direction of his right foot held high in the air and which 

he touches with the finger of his left hand. His head, with his thick curly 

air and full short beard, is equally turned in the direction of his foot 


raised in the air. 
Height, 9 inches. 
Formerly in the Marquis de Pucci Collection, Florence. 


Fourth Afternoon 


POSSIBLY BY PIETRO TACCA 


999—Bronze Sratuette Representine a Runnine YoutTu : 
Italian Early Seventeenth Century 
The running youth is represented naked, next to a tree, with a most 
= frightened expression on his face. His right leg is bent forward, his 
o S _ left raised in the air, his left arm stretched forward and his right 
thrown across to his left shoulder as if to protect himself from an 
attack. Several stones are lying on the ground next to him. 


Height, 10 inches. 


Formerly in the Marquis de Pucci Collection, Florence. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 
ce Ne ee 


ANDREA BRIOSCO cattep IL RICCIO 


1000—BronzE STATUETTE REPRESENTING A BEAR 


Paduan Early Sixteenth Century 
The bear is seated on his haunches, with his fore-paws planted on the 
ground. His head is bent forward and his jaws are slightly open. He 
shows straps passing under the fore-legs and through a ring on the 
top of the back. The execution of the animal is of admirable quality. 


Height, 3% inches. 


Formerly in the Bardac and in the J. Pierpont Morgan Collections. 


Reproduced and described in Bode, “Catalogue of Bronzes in the J. Pierpont 
Morgan Collection,” page 9, No. 31. In speaking of it in the introduction (page 
xvii1) Bode says: “A splendid little animal in the collection nearly approaches Riccio 
and is quite worthy of him; it is the figure of a seated bear. The animal is an excellent 
study from nature, but in spite of this the artist probably took as his model some 
mediaeval prototype, such as the famous she-bear in the Cathedral at Aachen, or was 
influenced by it. A ring on the beast shows that it must have been used as a weight, 
or for some such purpose.” 

A similar example of a bear, but of a less fine quality, is in the National Museum 
in Florence, reproduced in Bode, “The Italian Bronze Statuettes of the Renaissance,” 
Vol. II, pl. 116. 


) yo, 


Fourth Afternoon 


WORKSHOP OF ANDREA BRIOSCO cattep IL RICCIO 


1001—Sra Monster Formep as A Lamp 


Paduan Early Sixteenth Century 

The monster itself forms the base, and his head the receptacle for the 

oil; the open jaws are the burner and the handle is made of the tail 

curled over upon the back. Holding the receptacle and riding on the 

monster is a satyr. He is bearded, has thick hair and horns hanging 
down from the back of his head. 

Height, 514, inches; width, 6%, inches. 


Formerly m the Pfungst and J. Pierpont Morgan Collections. 


There is in the National Museum in Florence a lamp identical to it, given to 
Riccio, and reproduced in Bode, “The Italian Bronze Statuettes of the Renaissance,” 
Vol. I, pl. 46. It is also interesting to compare it with a statuette formed as an ink- 
stand, in the Louvre (No. 101), equally attributed to Riccio. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 
eee eee sesso’ 


1002—Grovur 1x Bronze ReEpresENTING Nessus AND DEIANIRA 


foe . 


Italian Late Sixteenth Century 


The Centaur Nessus is represented in the act of carrying off Deianira, 
Hercules’ wife. His forefeet are raised high in the air. On his back 
is a drapery over which is seated Deianira struggling violently against 
him. On a wooden round base. Height, 101, inches. 


Formerly im the Marquis de Pucci Collection, Florence. 


This group is a repetition of the famous and signed group by Giovanni Bologna 
representing the same subject, formerly in the J. Pierpont Morgan Collection, repro- 
duced in “Illustrated Catalogue of Italian Sculpture and Other Plastic Art” exhibited 
at the Burlington Fine Arts Club in 1912, pl. XX VI, No. 46, and of which there are 
replicas in many public and private collections. Among them are those in the Vienna 
Imperial Museum and in the Berlin Museum. 


Fourth Afternoon 


1003—Bronze StTatTuEtTE REPRESENTING A Dancine FicurE 


es 


Paduan School, Late Sixteenth Century 

A naked youth is represented dancing. His head, with thick curly 

hair, is bent forward and the muscles and the position of his limbs show 

great tension. He is holding cymbals in both hands, playing on them 
as he dances. On a marble base. 

Height, 1114 inches. 


Formerly in the Marquis de Pucci Collection, Florence. 


This statuette is an imitation of the antique which were so frequent in the fifteenth, 
sixteenth and seventeenth centuries in Italy. It is interesting to compare it with the 
statuette of the fighter in bronze in the Berlin Museum, made after an antique figure, 
and reproduced in Fritz Goldschmidt: “Die Italienischen Bronzen der Renaissance 
und des Barocks,” pl. 58, No. 9. 


Kindly read the Conditions under which every item is offered 


and sold. They are printed in the forepart of the Catalogue. 


BERTOLDO DI GIOVANNI 
Born about 1420; died in 1491—Pupil of Donatello 


1004—Bronze STATUETTE OF HERCULES 


Possibly by Bertoldo himself, or by an artist very near to him. Ona 
triangular base posed on three scroll feet is standing a naked and 
bearded man represented as Hercules. While his right foot stands 
firm, the left one is raised, the toes only touching the ground. His 
head and upper part of the body are slightly bent toward the right, 
and in his clenched hands, raised high from the body toward the left, 
he is holding a club ready to strike a blow. 


Height, 9 inches with base. 


Formerly in the J. Pierpont Morgan Collection. 


Reproduced and described by Bode in his “Catalogue of the Collection of Bronzes 
in the J. Pierpont Morgan Collection,” Vol. I, pl. VIII, No. 11, and page 4. Repro- 
duced and described also in Bode’s work on “The Italian Bronze Statuettes of the 
Renaissance,” Vol. III, pl. 283, and page 16. 


(Illustrated) 


. 1004—Bronze STATUETTE OF HERCULES BY BERTOLDO DI GIOVANNI 


| 30. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


WORKSHOP OF ANDREA BRIOSCO cattep IL RICCIO 


1005—BronzE STATUETTE Paduan Early Sixteenth Century 


Representing a satyr seated on a triangular base and holding a candle 
socket. On a triangular base is seen a satyr kneeling on one leg. He 
is represented with a goat’s beard, horns and hoofs, and is holding in 
his right hand, raised high, a candle socket, while his left, originally 
probably placed on an inkstand, is hanging down. 


Height, 9° inches with base and horns. 


An almost identical statuette, but holding a different candle socket, was formerly 
in the Bardini Collection, and was given to Riccio (Sale Catalogue, 1918, fig. 100). 
Another figure, similarly composed, his left hand resting upon a receptacle for ink, 
is in the Louvre (No. 77). It is also interesting to compare it with a figure represent- 
ing a “satyr seated on a triangular base with inkstand and candle-socket,” formerly 
in the J. Pierpont Morgan Collection, reproduced in Bode, “The Italian Bronze 
Statuettes of the Renaissance,” Vol. III, pl. 242, and given to Riccio. 


(Illustrated) 


No. 1005—Bronze Staturtte: WorxksHop or Anprea Briosco caLiep It Riccio 
(Paduan Early Siateenth Century) 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


eles 


WORKSHOP OF ANDREA BRIOSCO catrtep IL RICCIO 


1006—A Lamp Paduan Early Sixteenth Century 


It is formed of a shell supported on the right shoulder of a bearded 
man. He is kneeling on one leg; his left hand is placed upon the 
ground, while with his right arm he is supporting a shell on his right 
shoulder. 

Height, 5 inches without base. 


The composition is a derivation from the famous inkstand formerly in the Taylor 
Collection in London. (Reproduced in Bode, “The Italian Bronze Statuettes of the 
Renaissance,” Vol. I, page 29, fig. 23.) A similar group is in the Martin le Roy 
Collection, reproduced in the Catalogue of this collection, Vol. III, pl. VIII. Another 
group is in the Berlin Museum. 


(Illustrated) 


No. 1006—A Lamp: WorksHop or ANDREA Briosco CALLED It Riccio 
(Paduan Early Sixteenth Century) 


LOo0Oo. 


Kindly read the Conditions wnder which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


GIOVANNI BOLOGNA 
Born in 1528; died in 1608 


1007—Bronze StrarvuetTe Representing THE Ficure or Morcanre 
Florentine Late Stateenth Century 
Morgante, the Court Dwarf of Cosimo I de Medici, is represented here 
as Bacchus. He is nude and is holding in his outstretched right hand 
a wine cup, and in his left a bunch of grapes. He is standing on a 
circular base posed upon a bronze pedestal decorated with rosettes 
and festoons of drapery and posed on three paw feet. 


Height, 51% inches without base; 814, inches with base. 
Formerly in the Bardini Collection in Florence. 


Reproduced and described in the sale catalogue of the Bardini Collec- 
tion, 1918, No. 96. 


Statuettes of the same kind are often attributed to Valerio Cioli, who is known 
to have made for Cosimo I a naked marble figure of Morgante. Bode, however, 
attributes all the small figurines of Morgante in bronze to Gian Bologna, while three 
large figures designed for fountains and now in the National’ Museum in Florence 
are ascribed by him to Cioli. In speaking of them in his work on “The Italian Bronze 
Statuettes of the Renaissance,” Vol. III, page 6, Bode says: “. Judging from 
all these figures (figures of beggars and musicians), we are enabled to recognize the 
hand of Bologna in the numerous small nude figures of jesters, especially that of the 
dwarf Morgante, who was a special favorite at the Court of Cosimo I. The treatment 
is very similar in all—a standing figure entirely nude (as the Grank Duke was wont 
to exhibit his favorite), either as Bacchus, as a figure blowing a horn or in some 
analogous character . . . .” 

Examples of small bronze figures of Morgante are numerous. Among them the 
ones in the National Museum in Florence (Bode: ‘The Italian Bronze Statuettes of 
the Renaissance,” Vol. III, pl. 207), and in the Thiers Collection in the Louvre (No. 
51, executed in gilded bronze), are represented in exactly the same way as the one 
here reproduced. In others, such as the one in the Otto Beit Collection (Illustrated 
Catalogue of Itaiian Sculpture and other Plastic Art in the Burlington Fine Arts 
Club, 1912, pl. 30, No. 12) the one from the Kaiser Friedrich Museum in Berlin 
(Bode: “The Italian Bronze . . .” III, pl. 207), and the one from the Pourtalés 
Collection (Renaissance Ausstellung, Berlin, 1898, pl. 30, No. 7), Morgante is seen 
smoking a pipe and leaning on a stick. 

Other examples are in the South Kensington Museum, in the Martin le Roy Collec- 
tion, in the Chabriére Arlés Collection and elsewhere. 


(Illustrated) 


No. 1007—Bronze Srarurtre Representine THE Figure or MorcGante 
By GIovaNNI BoLoGNa 


(Florentine Late Sixteenth Century) 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1008—THE Spinario Paduan Late Fifteenth Century 


foo. 


The figure, representing a youth seated in the act of extracting a thorn 
from his foot, is made after the ‘“Spinario” in the Capitol in Rome, 
dating from the fifth century B.C., and of which there are so many 
variations in museums and private collections. The original statue 
itself has different replicas of the time, of which one is in the Louvre, 
one in the British Museum (coming from the Castellani Collection) 
and one in the collection of the Baron E. de Rothschild. 


Height, 6% inches. 


In the Renaissance period there were many reproductions made of the Capitol 
Spinario in small bronze statuettes. Variations of the imitation of this statue are 
in the following collections: One in the Louvre; one in the Charles Haviland Collec- 
tion; one in the Gustave Dreyfus Collection; one in the Correr Museum, in Venice; 
two formerly in the Morgan Collection; two in the Principe Trivulci Collection, Milan; 
one in the National Museum in Florence; one in the Ashmolean Museum, Oxford; one 
formerly in the Taylor Collection; London, and elsewhere. (See reproduction of 
these statuettes in an article by Gaston Migeon in “Mémoires et Monuments, Fonda- 
tion Piot,” 1909, page 95, pl. XII, and in Bode, “The Italian Bronze Statuettes of 
the Renaissance,” Vol. I, pl. 87-89.) 


(Illustrated) 


No. 1008—TuHe Spinario (Paduan Late Fifteenth Century) 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1009—A Bronze InxstTanp Venetian Late Sixteenth Century 


The inkstand is of circular form and is supported by three winged 
caryatids terminating in lions’ paws. The inkstand itself is richly 
decorated with heads of winged putti and with festoons of fruit and 


2 OO . leaves. On the top of the cover is a rampant lion supporting the arms 
of the Medici family. 


Height, 884 inches; diameter of bowl, 5% inches. 


Formerly in the Davanzati Palace Collection. 


Described in the Catalogue of the Davanzati Collection, 1916, No. 884. 


Fourth Afternoon 


1010—Busr 1x Bronze Representine THE Emprror ComMmopus 

Italian Seventeenth Century 
The young Emperor is represented facing to the front, with a clean- 
shaven face and short curly hair. He wears a mantle gathered over 
his right shoulder and fastened with a clasp. On a small quadrangular 
base is inscribed the name COMMODO. On a column-shaped, round 
brass base. Height without base, 1014 inches. 


Loo. 


Formerly in the Marquis de Pucci Collection, Florence. 


The bust is a seventeenth century repetition of the Roman bust of the Emperor 
Commodus, in the Capitoline Museum, in Rome. 


Note: Aurelius Antoninus Commodus was Roman Emperor from 180-192 A. D. 
He was the son and successor of the Emperor Aurelius Antoninus and of Faustina. 
He was a cruel ruler and brought misery upon his people, and was finally poisoned 
by his favorite Marcia in 192 A. D. 


26 00. 


Kindly read the Conditions wnder which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


ALESSANDRO VITTORIA 


Born in 1525; died in 1608. Foliower of Jacopo Sansovino 


1011—A Parr or Bronze CanDLeEsTIcks Venetian Sixteenth Century 


Three female caryatid figures with outspread wings whose bodies termi- 
nate in claw feet and birds’ tails, are supporting upon their backs a 
round base from which rise the sockets. They are formed of vases 
decorated with masks and having each four handles. 


Height, 6% inches without base. 


Formerly in the Rodolphe Kann and in the J. Pierpont Morgan Col- 
lections. 


Reproduced and described in the Catalogue of the Rodolphe Kann 
Collection, 1907, Vol. I (Objets d’Arts Moyen Age et Renais- 
sance), page 44, No. 55. 


Reproduced and described in Bode, “Catalogue of Bronzes in the J. 
Pierpont Morgan Collection,” Vol. II, page 137, No. 200. 


A similarly composed and decorated candlestick is in the Louvre (No. 162). It 
is also interesting to compare them with a pair of candlesticks formerly in the 
Bardini Collection, reproduced in the Sale Catalogue, 1918, Nos. 63-64, equally attri- 
buted to Alessandro Vittoria. 


(Illustrated) 


(hanquag yyuaajaigy uvizaua 4) 


VIUOLLIA OYGNVSSATY Ad SMOILSHTAGNV) AZNOUG AO WV Vee LOL ‘ON 


Kindly read the Conditions under which every ttem is offered 
and sold. They are printed in the forepart of the Catalogue. 


WORKSHOP OF ANDREA BRIOSCO caLtLeD IL RICCIO 


1012—Lamp with Dovsite Burner Paduan Early Sixteenth Century 


boo 


On a stand formed of three curved legs decorated with acanthus leaves 
and terminating in lions’ feet is seen a vase-shaped stem. On it, on a 
low circular foot, is a stand in the form of a boat, decorated with 
acanthus leaves and supporting a statuette of a nude boy, standing on 
his left leg. The right one is raised in the air and his left arm extended. 


Height, 191% inches. 


Formerly in the J. Pierpont Morgan Collection. 


Reproduced and described in Bode, “Catalogue of Bronzes in the J. Pierpont 
Morgan Collection,” Vol. I, pl. 36, No. 58. In speaking of it in the Introduction 
(page XVI), Bode says. “. . . We frequently meet with this composition, though 
seldom with so perfect and complete an example; the cover is surmounted by an 
animated figure of a nude boy.” 

Among other examples there is one in the Ashmolean Museum, in Oxford, repro- 
duced in Bode, “The Italian Bronze Statuettes of the Renaissance,” Vol. II, pl. 127. 
Two others are in the National Museum in Florence; one is in the Simon Collection 
in Berlin, etc. 


(Illustrated) 


No. 1012—Lamp witn Dovsite Burner: WorxksHop or ANDREA Briosco CALLED 
In Riccio 


(Paduan Early Sixteenth Century) 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1013 


Zooo. 


JACOPO TATTI cattep SANSOVINO 


Born in Florence in 1486; died in Venice in 1570 


Bronze Door-xKNocker Venetian Sixteenth Century 


Closely conected with Jacopo Sansovino. In the center of a frame 
of foliage admirably treated is seated a female figure most probably 
representing Charity. A draped transparent gown covers her body. 
Her left hand rests upon her breast, while her right is laid upon the 
head of a child who clings to her knee and looks up to her. She is 
looking at another child seen below at the right and who also looks 
up to her. Above, holding a shield, are two winged putt. 


Height, 12% inches; width on base, 12% inches. 


Formerly in the J. Pierpont Morgan Collection. 


Reproduced and described in Bode, “Catalogue of Bronzes in the J. Pierpont 
Morgan Collection,’ Vol. II, pl. 127, No. 186, who, in speaking of it says: “. 
the execution in cire perdue, remarkably delicate.” Reproduced also in Bode, “The 
Italian Bronze Statuettes of the Renaissance,” Vol. III, pl. 268. 


(Illustrated ) 


No. 1018—Bronze Door-Knocker By Jacopo TaTrTi CALLED SANSOVINO 


(Venetian Sixteenth Century) 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


WORKSHOP OF ANDREA BRIOSCO catitep IL RICCIO 


1014—Lamp IN THE Form or a Boy Houpine Aa Cornucopia 
Paduan Early Sixteenth Century 
Standing on a vase, rising from a high stand decorated with foliage 
and terminating in claw feet, is seen the figure of a naked boy. His 
right foot is slightly bent backward and his right arm is raised holding 
a cornucopia, which supports a shell. 
Height with shell, 12 inches. 


Formerly in the Pfungst and J. Pierpont Morgan Collections. 


Reproduced and described in Bode, “Catalogue of Bronzes in the J. Pierpont 
Morgan Collection,” Vol. I, pl. 86, No. 51. 


(Illustrated) 


(Ls 


No. 1014—Lamp 1n THE Form or a Boy Hoxtpine a Cornucopia: WorkSHOP OF 
ANDREA Briosco cALuLEeD It Riccio 


(Paduan Early Sixteenth Century) 


eee 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


CLOSELY RELATED TO LEONE LEONI 
Born in Arezzo in 1509; died in 1590 


1015—Bronze SratruretTE REPRESENTING “AN EaurstTriAN FicurE 


North Italian Sixteenth Century 
On a trotting horse is seated a rider in a short pleated garment in the 
antique fashion; his right arm is raised, his left close to his side, and 
in his clenched hands he was probably originally holding guides. His 
beard is short, his hair thick and curly, and he looks in front of him 
at the horse. On the base is a circular plaquette with the subject of 
a combat after Moderno, adapted by G. P. Galeotti. Probably a model 
for an equestrian figure. 


Height, 9 inches without base. 


Formerly in the Pfungst and in the J. Pierpont Morgan Collections. 


Reproduced and described in Bode, “Catalogue of Bronzes wm the J. 
Pierpont Morgan Collection,” Vol. I, pl. 66, No. 99. 


Another almost identical equestrian figure, formerly also in the J. Pierpont Morgan 
Collection and given to Riccio, is reproduced in Bode,‘‘The Italian Bronze Statuettes of 
the Renaissance,” Vol. I, pl. 35. Another similarly composed equestrian figure, 
given to a pupil of Riccio, was formerly in the Bardini Collection, reproduced in the 
Bardini Sale Catalogue, 1918, fig. 97, where it is said that another example is in the 
Berlin Museum. It is also interesting to compare it with an equestrian figure in the 
Thiers Collection in the Louvre (No, 61). 


(Illustrated) 


No. 1015—Bronze Stratuetre RepresENTING AN EQuestrRiAN Ficure 
CiosELY Retatep To Leone LEonI 


(North Italian Sixteenth Century) 


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and sold. They are printed in the forepart of the Catalogue. 


1016—BronzEe Horst Paduan Early Sixteenth Century 


The horse is represented caparisoned, trotting forward, his right fore- 
leg lifted up. 

Height, 614 inches. 
Formerly m the J. Pierpont Moraan Collection. 


Reproduced in Bode, “Catalogue of Bronzes m the J. Pierpont Morgan 
Collection,” Vol. I, pl. 63, No. 96. 


The representation of horses was in great favor with the artists of the Renaissance 
period. Besides those executed in marble and bronze on a great scale, there were 
also small studies of horses made in bronze, of which there are many examples in the 
Berlin Museum, in the Bargello and elsewhere. 

In speaking of those formerly in the J. Pierpont Morgan Collection, to which 
also belonged the horse we are concerned with here, Bode says, in the Introduction 
to the Catalogue, Vol. I, page XXIV: “. . . ‘To the late quattrocento belong early 
copies of classic statues. of horses, several examples of which are in the Morgan 
Collection. The four Greek horses which the Venetians carried off from Constantinople 
as part of the spoil and set above the facade of Saint Mark’s were, together with the 
horse of Marius Aurelius, the best known and most popular of all these models. We 
know various little copies of one or other of these horses which were nearly all made 
in Padua at the end of the 15th or early 16th century.” 

In his book on “The Italian Bronze Statuettes of the Renaissance,” Vol. II, page 
11, Bode equally speaks on the subject: “. The Florentine sculptors disdain 
representations of the animal for itself, they admit it only in groups, in relation to 
human beings; above all with a rider, or in battle between man and beast. 

The Paduans, on the contrary, are fond of the reproduction of the animal for its 
own sake.” 

For reproductions of similar horses, see Bode: “The Italian Bronze Statuettes 
of the Renaissance,’ Vol. II, and Goldschmidt, “Die Italienischen Bronzen der 
Renaissance und des Barocks,” pl. 27, No. 75. See also Reinach, “Répertoire de la 
statuaire grecque et romaine,” Vol. II, page 740, No. 3. 


(Illustrated) 


No. 1016—Bronze Horse (Paduan Early Sixteenth Century) 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1017—Irauian Bronze STATUETTE Renaissance 


Bust of nymph, in the nude, with head gracefully poised over her left 
/2 6 q shoulder, her hair in wavy dress and a Psyche knot. Olive and black 


patina. Green marble columnar pedestal. 


Height, 3 inches; with pedestal, 517, inches. 


1018—BronzE STATUETTE Renaissance 
Full-length figure of Mercury, running, poised on left foot, and right 
arm raised above his head. Light mantle from one shoulder to loins. 

O : Soft black patina of rich tone. On red marble columnar pedestal. 


Height, 5 inches; with pedestal, 7% inches. 


1019—AntTiIevE Bronze STATUETTE Renaissance 


Full-length standing figure of Flora, distributing flowers. Weight on 
her right leg, her left knee flexed and foot resting on the scrolled end 

O- of her cornucopia. Nude save for the drapery of a light scarf with 
streamers, executed in relief. Soft patina, greenish and greenish-brown. 
On a quadrilateral black marble pedestal. 


Height, 7% inches; with pedestal, 9%4 inches. 


1020—Two Bronze CanbLEsTIcKs Venetian Late Sixteenth Century 

The candlesticks are decorated with acanthus leaves, scrollings, cherubs’ 

— heads and bunches of fruit and leaves. They are baluster-shaped and 

S¥e have tripod bases ending in scroll feet and decorated with sphinxes 
and leaf-work. 

Height to top of socket, 14 inches. 


Formerly in the Davanzati Palace Collection. 


Reproduced and described in the Catalogue of the Davanzati Collection, 
1916, No. 64. 


(Illustrated) 


No. 1020—Two Bronze Canpuesticxs (Venetian Late Sixteenth Century) 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1021—A Morrar Venetian, Sixteenth Century 


gm Oe 


In the lower part, around the body, is a decoration consisting of a 
band of acanthus leaves. Two winged female caryatid figures termi- 
nating in foliage form the handles. 


Height, 12 inches; diameter on top, 14 inches. 


Formerly in the Pfungst and J. Pierpont Morgan Collections. 


Reproduced and described in Bode, “Catalogue of Bronzes in the J. Pierpont 
Morgan Collection,” Vol. II, pl. 131, No. 191. 


1022—Ivratiaw Bronze Morrar Seventeenth Century 


ae 


Inverted bell shape with two bracket handles. Finely chiseled orna- 
mentation in low relief on plain and stippled grounds, including fes- 
tooned garlands, leaf designs, escutcheons and rosettes. Encircled by 
an inscription: ALLE DUE SERENE SCARPIGLIATE 
MDCLXXXIV. Dull and soft blackish patina. 


Diameter, 6 inches, 


Fourth Afternoon 


10238—Mossutman Bronze Mortar Eleventh Century 


Octagonal, with expanding top and base, flat rim, and a molding below 
the rim. Two animal-head loop and loose-ring handles. On each face 

} Be ©. a heavy pear-shaped protuberance from a palmate arched panel 
reserved plain within an incised ground. Other incised decoration. 
Cufic inscriptions. Dense greenish patina. 


Height, 5 inches. 


1024—AntTieuE EvrorprEan Bronze Mortar witu PEstTLEe 


Inverted bell shape. Decorated with four crowned bust portraits in 
Se) relief, in panels between knobbed columns. Unctuous patina, brown 
: and blackish, and grayish earthy incrustations. 


Diameter, 4°34 inches; length of pestle, 714 inches. 


6. -/O24- A ~ yo Han 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1025—A Mortar Venetian Sixteenth Century 


/oSoc. 


Around the body and executed in low relief are seen cupids holding a 
coat-of-arms; scrolls, masks and floral ornaments complete the deco- 
ration in the center. Above is a band decorated with small rosettes, 
and another one below shows small acanthus leaves. On the foot are 


alternately acanthus leaves and fleurs-de-lis. 
Height, 5 inches. 


Formerly in the Pfungst and J. Pierpont Morgan Collections. 


Reproduced and described in Bode, “Catalogue of Bronzes in the J. Pierpont 
Morgan Collection,” Vol. II, page 28, No. 190. In speaking of it in the introduction 
(page XXXVIII), Bode calls it “. . . A small and dainty specimen, ornamented 
in low relief with cupids, supporting a coat of arms.” 


Fourth Afternoon 


1026—Ancient Arapic Bronze Morrar 


Cylindrical, with heavily flanged lip and foot. Around the sides pointed 
arches in double outline relief—four in number—enclosing Arabic 
Sas characters which are also in relief. Dense reddish-brown patina and 


grayish earthy incrustations. 


Diameter, 64 inches. 


a 


Z 


/ 2°: 


Fon, 


ie 


1030—Mosvut Bronze Basin Thirteenth Century 


1027—A Bronze Morrar 


laa 


1028—A Bronze Mortar 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


Italian, Signed ““A. Jubst 1705” 


The mortar, which served to mix drugs, is decorated in the lower part 
with a band of acanthus leaves. In the upper part are garlands of 
fruit and flowers held up by floating winged cupids. As for the handles, 
they are formed by two winged cupids supporting the rim, around 
which runs the following inscription: MORTARIUM HOC PERTTI- 
NET AD AROMATARIAM S. FRANCISCI TRANSTIBERIM A. 
JUBI 1705, which translated into English means: ‘Mortar belonging 
to the drug store of S. Francis across the Tiber.” 

Height, 16°, inches; diameter, 201 inches. 


(Illustrated ) 


Italian Early Seventeenth Century 
The mortar, which served to mix drugs, is decorated in the lower part 
with a floral and leaf-work incised design. Dolphins’ heads form the han- 
dles. In the center is a coat-of-arms surmounted by a casket and sur- 
rounded by scrolls and leaves, and over it is the inscription: ARCE 
PLACIDIO, which would mean: In this peaceful town. On the rim runs 
the following inscription: JOANNES JOSEPH RASINUS PHAR- 
MACOPOLA TAURINENSIS ANNO DOMINT 1116. 
Height, 151% inches; diameter, 19 inches. 
It is very possible that the coat of arms belongs to Joannes Joseph Rasinus of 


Turino, whose name is inscribed above, but it was impossible to identify it. As for 
the date, it should read 1611 and not 1116. 


(Illustrated ) 


1029—A Bronze Mortar North Italian Late Fifteenth Century 


Around the body is a decoration of pilasters forming five compart- — 

ments. In the central one is seen an eagle; in the two following ones 

are busts of a young man and a young woman, and in the two end 

compartments are vases with palmettes. A decoration of small leaves 

is around the border, and a handle is seen between the two end com- 

partments. Height, 44 inches. 
(Illustrated ) 


Circular, with broad flat bottom, and recurving sides which expand 
freely in a festooned rim of many points, the sides being fluted in as 
many lobes. Incised, stippled and punched ornamentation, minute and 
intricate, including medallions, quatrefoils and symbols, with figures 
and panels and diapered grounds. Soft patina. On the exterior a 
mahogany patina. Diameter, 19 inches. 


From the Filippo Collection. 


1031—Two Booxs 


2) 0. 


“Bronzes of the Renaissance and Subsequent Periods. Collection of 
J. Pierpont Morgan.” Vols. I and II, by Wilhelm Bode. 


1027 


1028 1029 


Iratian Bronze Morrars FrRoM THE FIFTEENTH TO THE Earty EIGHTEENTH 
CENTURY 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1032—ScuuprureD Statuary Marsie Starvette Roman Third Century 


/10 


103838 


po 


Standing figure of a little lad wearing a classic chiton and holding a 
short length of rope in his hand. On irregular oblong base. The 
original portion above bust has been replaced by a replica commis- 
sioned by Mr. Caruso after he had had this portion removed to present 


it to a friend. 
Height, 261% inches. 


SIXTEENTH CenTuRY Iranian Steet Morion 


Spiked helmet in iron, elaborately chased and gilt in a pattern of 
Oriental interlacements. In front is a panache, or plume-holder, and 
behind, a chain-mail shoulder guard. 


(Illustrated ) 


1034—Firtreentu Century Iranian HELMET 


aS 


Engraved on the upper part in a design of trophies, masks and foliage. 
Below are rosettes, with brass studs as centers. 


(Illustrated ) 


1035—SixTEEntTH CEentTuRY Irauian HA.trF-suir or ARMOR 


Sto 


Consisting of a celatus, or helmet with visor, gorget, pauldrons, rere- 
braces, coudes, vambraces and breastplate. Accompanied by an iron 
mace, a sword and a circular shield. The armor is completely gilded 
with a patterning of half-moons (emblem of the Strozzi family) and 
the iron mace has a head of seven double curved flanges, completely 
gilded, with a handle in two parts partially gilded and ending in a pom- 
mel wrought as a garland. The circular shield is bronzed and etched 
with a design of radiating compartments occupied by patternings of 
trophies, quatrefoil and foliage and surrounded by a deep etched border 
of rosetted design, and the spike has a base of gilded acanthus leaves. 
The sword is of contemporary Spanish workmanship, with a hemispher- 
ical guard, pierced and wrought in a pattern of oval medallions, with 
profiles of Roman emperors and scrolled foliage, straight quillons, a 
wire-wound grip with plain knuckle-bow and ornate ball-shaped pommel. 
The long straight blade, under the guard, is engraved with an inscrip- 
tions IVs Miia beloN bo 2 EONS OPE shee E.S. 
PBR AGB we Deo: 
(Illustrated) 


Iravian ARMOR OF THE FIFTEENTH AND SIXTEENTH CENTURIES 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


PERSIAN AND INDO-PERSIAN MINIATURES AND 
ILLUMINATIONS FROM THE TABBAGH COLLECTION 


1036—Invo-Prrsian MINIATURE Seventeenth Century 

In colors and gold; by a miniaturist of the Jehangir school. Full- 

length standing figure of a princess, in profile to left, against a blue 

4 background. Two borders, both in gold, one with flowers and birds on a 
yellow ground, one with animals on a red ground. 


Height, 6 inches; width, 31% inches. 


1037—Persian Miniature Sixteenth Century 

In colors and gold; from a manuscript of the “Bustan” of Sadi. In 

an interior of elaborate decorations four men are prostrating them- 

Us selves and praying. And in the foreground a princess kneels on a 
prayer rug, with ducks on either side of her. 


/ 


Height, 634 inches; width, 41/4, inches. 


1038—Persian MIniaTuRE Sixteenth Century 


In colors and gold; from a manuscript of the “Bustan’” of Sadi. An 

episode in the war between the Persians and the Mongolians. The 

: Persians on horseback and the Mongolians on an elephant attack each 
JOE other with drawn swords, and around are some of the fallen. 


Height, 6 inches; width, 444 inches. 


1089—Perrsian Miniature Stiateenth Century 


In colors and gold; from a manuscript of the “Bustan” of Sadi. On 
one side of a palace courtyard one of the Shah’s wives is in a dark 
/} ©. cell, loaded with chains. Three attendants bring her food and hold 
lighted candles, and the Shah and courtiers look on. Landscape back- 


ground with trees. 
Height, 6% inches; width, 41% inches. 


1040—Inpo-Perstan Miniature Seventeenth Century 


In colors and gold. From a manuscript illustrated by Muhammad 

Nadir of Samareand. An equestrian portrait of Shayista Khan, riding 

ibs a white horse, in an open, flower-besprinkled meadow, under a cloudy 
sky. 

Height, 94% inches; width, 634 inches. 


Fourth Afternoon 


1041—Perrsian ILLUMINATION Sivteenth Century 


In gold and colors; from a manuscript of one of Nizami’s works. In 
the center a polyfoliate panel of Persian text, flanked by rectilinear 
fis panels of intricate floral interlacements, and around all a Saracenic 


border in blue on gold ground. 
Height, 5 inches; length, 9% inches. 


1042—-Inpo-PeErsian MINIATURE Seventeenth Century 
In gold and colors; by a miniaturist of the schools of Akbar and 
Jehangir. In a palace a Shah sits on his throne of jeweled gold, 

Le watching two of his courtiers playing chess. In front of him stand 
his princely son and a dervish. Above and below are panels of text. 


Height, 81%, inches; width, 5% inches. 


1043-—Prrstan InLumMimation: THree Panets in OnE FRAME 
Sixteenth Century 


In gold and colors; from a manuscript of one of Nizami’s works. Three 
an pages of calligraphy, one by Mir Hassan, the others by Diwan Hoja 

Hafez, written in spaces reserved in a gold ground, and with panels of 

decoration painted in gold and colors above the penmanship. 


Height (each), 9% inches; width (each), 3% inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1044—Perrsian MINIATURE Sixteenth Century 

In colors and gold. From a manuscript of one of Nizami’s works. 

In a palace the Shah and one of his wives are seated listening to musi- 

Os cians, and women attendants serve refreshments. In the background 
is a garden. Above and below are panels of calligraphy. 

Height, 91% inches; width, 5Y, inches. 


1045—Inpo-Persian MINIATURE Seventeenth Century 

In colors and gold. From a manuscript illustrated by Muhammad 

Nadir of Samarcand. In a rocky landscape under a blue sky a horse- 

/# 6 i man with drawn bow aims an arrow at a man trying to shelter himself 
in a hollow tree-trunk. Height, 10 inches; width, 51% inches. 


Fourth Afternoon 


PG. KID 
ican cdi yey 


is ate 
Veh buis 


1046—Persian Miniature Sixteenth Century 

In colors and gold. From a manuscript of Nizami’s “Khamsah.” 

In a palace courtyard Shah Thamarp and his wife are listening to 

hs © , the recitation of a poem, by one of the courtiers. In the background 
is a garden, beyond a curtained opening. Panels of calligraphy above. 

Height, 9 inches; width, 5%, inches. 


1047—Perstan MINIATURE Sixteenth Century 


In colors and gold; from a manuscript of Nizami’s “Haft Paikur.” 
es - Shah Iamaz, having wounded Freidoum, regrets his act, and throwing 
himself on his knees begs forgiveness. Around are numerous attend- 


ants, mounted and afoot. Height, 11 inches; width, T/, inches. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1048—Perrsian MINIATURE Sixteenth Century 


In gold and colors; from a manuscript of Nizami. Into the open gate- 
way of a fortress the Shah, who has dismounted, pursues with drawn 
OG ©, sword a horseman. Behind the Shah come a body of his followers on 
horseback and armed with spears and bows. In the foreground is the 
Shah’s abandoned charger, and on the battlements of the fort armed 


men appear. 
Height, 10 inches; width, 7% inches. 


1049—Perrsian MInraTuRE Sixteenth Century 

In colors and gold; from a manuscript of Nizami’s “Khamsah,” dated 

924 of the Hegira (A.D. 1518). In a cave, Shah Freidoum is killing 

y, a devil. On the left a man is bound to a tree, in the foreground are 

three of the Shah’s attendants, and in the background outside the cave 
three devils with clubs are waiting. 


Ke 


Height, 10%, inches; width, 7% inches. 


1050—Perrsian MIntaTuRE Stateenth Century 


In colors and gold; from a manuscript of the “Bustén” of Sadi. Ona 
dais in a kiosk a royal family group around the queen are listening to 
i O musicians and singers. In the background are the trees and flowers 


of the “fruit garden.” 
Height, 1214 inches; width, 5° inches. 


1051—Perrsian Miniature Siateenth Century 


In ink, colors and gold; from a manuscript of one of Nizami’s works. 
At the entrance of a palace a queen with outstretched arms welcomes 
, a young prince who rides on horseback. Behind the queen is one of 
her attendants, and before her are two singers whom a woman accom- 
panies with a tambourine. Above are four panels of calligraphy. 


Height, 10%, inches; width, 8 inches. 


1052—Perrsian MINIATURE Sixteenth Century 


. In gold and colors; from a manuscript of one of Nizami’s works. In 
0 a room in a palace a prince lies dying, surrounded by his weeping wives. 
; From a balcony members of the harem look on. 


Height, 1034 inches; width, 64 inches. 


Fourth Afternoon 


1053—Perstan Miniature Sieteenth Century 


In colors and gold; by a miniaturist of the school of Behzad; from 
a manuscript of the “Bustan” of Sadi. In a palace courtyard court 
officials are discussing important events. From a balcony in the back- 
/ oO, ground members of the harem are watching. On the left a Persian 
garden is to be seen through an open gateway. Surrounded by an 
elaborate border of foliated medallions enclosing Persian inscriptions, 
painted in gold and rich colors. Height, 61/, inches; width, 33/4 inches. 


1054—Jrwret Correr or Woop 
Persian, Twelfth or Thirteenth Century A.D. 
A ‘a O Coated with ivory plaques, with bronze hinges and lock. Decorated 
5 in black outlines with vignettes of musicians, fantastic animals, and 
varied enclosed Arabian designs. Dimensions, 141/ inches by 81% inches. 


ISG oo. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


JEAN II PENICAUD 


Born in Limoges in the Sixteenth Century; died there in 1588. Son probably 


of Jean I Pénicaud. 


1055—A Smartt PLaauE REPRESENTING THE CRUCIFIXION 


} French, Limoges, Sixteenth Century 
Possibly by JEAN II PENICAUD. Against a dark background 
strewn with stars the dead Christ is represented hanging on the Cross. 
Drops of blood fall from His hands and body into two chalices held by 
two floating angels dressed in long white gowns. A third angel, at the 
foot of the Cross, receives, in a chalice, the drops of blood falling from 
the wounds of His feet. At the left stands the Virgin with crossed 
hands and wearing a full blue mantle over a red gown. A white wimple 
frames her face. At the right is standing Saint John the Baptist in 
a white gown and a red mantle, and in the foreground are seen a 
skull and several bones. Height, 34% inches; width, 2°, inches. 


Formerly in the J. Pierpont Morgan Collection. 


The plaque shows many analogies in type and workmanship with a plaque repre- 
senting the Crucifixion, formerly in the Spitzer Collection (reproduced in the illus- 
trated Catalogue, Vol. II, p. 32, No. 32), given to the atelier of Pénicaud, about 1530. 


Fourth Afternoon 


SCHOOL OF NARDON PENICAUD 


1056—Smautut Praave RepresENTING THE Pieri, 


(So. 


French, Limoges, Early Sixteenth Century 
The scene is represented against a landscape background composed of 
houses, painted in brown, and a blue sky strewn with golden stars. 
At the foot of the Cross is seated the Virgin, in a dark red gown and 
blue mantle, and on her lap is the body of the dead Christ, with blood 
dripping from His wounds. His head is supported by Saint John, 
standing at the left and wearing a brown gown and a red mantle, while 
at the right is seen Mary Magdalen holding an ointment box and 
wearing a mauve gown, brown mantle, and a turban on her golden 
loose hair. 
Height, 3°4 inches; width, 234 inches. 
From the J. Pierpont Morgan Collection. 


This plaque, which in its composition recalls Pietas from the school of 
Southern France, shows many analogies with a plaque from the R. von Kaufmann 
Collection (reproduced in the Catalogue of the Renaissance Exposition in Berlin, 
1898, page 45, No. 4). It is also interesting to compare it with a plaque in the 
Louvre, No. 482. 


bees 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


MONVAERNI (so caiep) 
Active in Limoges in the second half of the fifteenth century. 


1057—Tuer ANNUNCIATION French, Limoges, Late Fifteenth Century 


The scene passes in the Virgin’s room, showing walls decorated in light 
blue mosaic, the floor in green. The Virgin is kneeling with hands 
folded in the attitude of prayer, in front of long curtains concealing 
her alcove. She wears a blue mantle over a brown gown, and behind 
her light auburn hair, which falls uncovered over her shoulders, is a 
halo. In front of the Virgin is seen the Angel Gabriel, who is saluting 
in bringing her the holy message. He is clad in a blue gown and brown 
overdress. In the upper part, at the left, is seen the Eternal Father 
in the clouds, and at the right is the inscription: “O MATER DEI.” 
In the center is a lily with a ribbon, on which are the words: “AVE 


MARIA.” The frame is of gilded bronze. 
Height, 44% inches; width, 3% inches. 


The plaque shows many analogies with the Nativity in the Glasgow Museum (re- 
produced in the Burlington Magazine, 1917, Vol. 30, page 225, in an article by Mitchel 
on “Some Limoges Enamels of the Primitive School”); there are also analogies with 
another plaque representing the Nativity, in the Czartoryski Museum in Cracow 
(reproduced in Marquet de Vasselot, “Emaux Limousins,” pl. XIV, No. 43), equally 
given to the so-called Monvaerni. 


(Illustrated) 


No. 1057—Tue ANnNuNcIATION By MoNVAERNI (SO CALLED) 
(French, Limoges, late Fifteenth Century) 


/200. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


PIERRE REYMOND 
Born in Limoges about 1513; died there about 1584. 


1058—Smatut Praque REPRESENTING THE CRUCIFIXION 


French, Limoges, Sixteenth Century 
Against a dark blue blackground, strewn with golden stars, is seen the 
body of the dead Christ hanging on the Cross. On His head is the 
Crown of Thorns, and around His loins is a floating white scarf. 
Drops of blood fall from His hands, head and body. On either side 
of the Cross are the two crucified thieves. 
At the foot of the Cross, kneeling on a ground strewn with flowers, 
is Mary Magdalen, in a white gown with brown slashed sleeves exposing 
white undersleeves. Standing behind her is the Virgin in a brown gown, 
a light blue mantle and a white wimple framing her face. At the other 
side of the Cross, with his head turned toward Christ, ‘stands Saint 
John, wearing a white mantle over a brown gown. The plaque is 


mounted in a narrow silver frame. 
Height, 4 inches; width, 3 inches. 


Formerly in the J. Pierpont Morgan Collection. 
It is interesting to compare it with a plaque in the Cluny Museum in Paris, 


equally by Pierre Reymond and also representing the Crucifixion (No. 4645), in 
which, however, the background differs, and where the two thieves are missing. 


(Illustrated) 


No. 1058—Smarzi Prague REPRESENTING THE CRUCIFIXION BY PreRRE REYMOND 
(French, Limoges, Sixteenth Century) 


LOO . 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


ATELIER OF NARDON PENICAUD 


1059—Puaqut REPRESENTING THE ADORATION OF THE Mact 


French, Limoges, Early Sixteenth Century 
A blue sky strewn with stars is seen in the background. On a gilded 
throne under a canopy is seated the Virgin, in a full blue mantle lined 
with green over a reddish dress, her golden hair falling loose over her 
shoulders. Behind her to the left is standing Saint Joseph in adoration, 
wearing a reddish mantle with a hood. On the lap of the Virgin is seated 
the naked Infant Jesus, taking jewels from the box which the oldest 
of the three Kings is offermg Him kneeling. He wears a blue gown 
and a red overdress, fastened with a jeweled clasp under his arm. A 
deep collar set with stones is around his neck. In back are two other 
Kings, one pointing to a green vase which he is holding, while turning 
to the King standing next to him, wearing a blue mantle over a 
purple gown and holding an incense box. 


Height, 71/, inches; width, 61% inches. 


Two almost identical plaques were formerly, one in the Spitzer Collection (see 
Sale Catalogue, No. 420), the other in the Cottereau Collection (Les Arts, 1910, No. 
100, page 10). All three have their prototype in the plaque formerly in the Armand 
Queyroi Collection, showing exactly the same composition and attributed to Monvaerni 
(see article by Mitchel on “Some Limoges Enamels of the Primitive School” in the 
Burlington Magazine, 1917, Vol. 30, page 220). There are great analogies, in com- 
paring the plaque here reproduced, with the one representing the same subject and 
formerly in the J. Pierpont Morgan Collection (reproduced in Marquet de Vasselot: 
“Les Emaux Limousins,” page 142). 


(Illustrated ) 


‘ 


No. 1059—Puaque RepresENTING THE ADORATION OF THE Maat 
ATELIER OF Narpon PrniIcAuD 


(French, Limoges, Early Sixteenth Century) 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


TWO PLAQUES REPRESENTING “ALEXANDER CAUSING THE 
WORKS OF HOMER TO BE PLACED IN DARIUS’ 
TOMB” AND “PAYING THE TRIBUTE MONEY”’ 


JEAN III PENICAUD 
Son probably of Jean II Pénicaud 


1060—“‘ALEXANDER CaAusinc THE Works oF HomMER TO BE PLACED InN Darivs’ 
Toms” French, Limoges, Sixteenth Century 


in gold. In the foreground is seen the open tomb into which several 
men are placing the works of Homer. At the right is standing Alex- 
ander, accompanied by his soldiers, and supervising the execution of 
his order. A number of persons seen in the back are assisting at the 
scene. Executed in grisaille. 


yf. The scene is represented against a dark ground strewn with trophies 
O00. 


Height, 7°4 inches; width, 9 inches. 
(Illustrated) 


1061—“Payine THE TrinutTE Money” 


Against a similar background strewn with golden trophies, Alexander 
is seated on a high and richly ornamented throne. Behind him are 
standing two soldiers, and in front of him several men in long floating 
OOO. robes are weighing, on a scale, the tribute money which they have 


brought. Executed in grisaille. 
Height, 734 inches; width, 9 inches. 


Formerly in the Spitzer and Maurice Kann Collections. Figured at 
the Retrospective Exhabition in Paris, in 1900. Reproduced and 
described in the Catalogues of the Spitzer and Maurice Kann 
Collections. 


The subjects are taken from Italian models of the School of Raphael, and they 
probably originally formed part of a casquet. They have always been spoken of 
as masterpiéces of the enameler’s art. The composition, as well as the quality of the 
work, is indeed of great fineness. Claudius Popelin (Catalogue de la Collection 
Spitzer, Vol. II, Texte, Préface, page 13) and Emile Molinier attribute them without 
any hesitation to Jean III Pénicaud, and Molinier adds, in speaking of them in his 
work on the “Exposition Retrospective,” 1900, page 94: “. . . to those who look 
in the difficult work of the enameler for more originality, for more liberty in the 
design, one has to recommend the plaques by Jean III Pénicaud, exhibited by Maurice 
Kann, plaques known since a long time and having belonged to famous collections. 
One looks at them always with great pleasure, having been executed by the greatest 
artist among the enamelers of the 16th century, by the one who, sure of his design, 
interpreted rather than copied the models from which he worked me 


(Illustrated) 


1060 


1061 


Two Limocres Enamets By Jean III Prnicaup 


rahe 


/200. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


THE MASTER M. D. 


Generally identified as Martix Divrer, active in Limoges in the second half 


of the sixteenth century—‘émailleur du roi” from 1574, 


1062—Praqut Representing “LAocoon AND His Sons STRANGLED BY 


SNAKES”’ 


The strangling of Laocoon and his sons is represented in the center, 
while to the left, in the distance, are seen the sea and the vessels, and 
to the right an altar burning for sacrifice, toward which the snakes 
advance. In the corners is a decoration composed of scrolls, leaf 
work, and cherubs’ heads, while in the upper part runs the inscription 
“LAOCON,” and on the socle is seen the signature M. D. I. The 


figures are executed in grisaille. 
Height, 10% inches; width, 101% inches. 


Formerly in the J. Prerpont Morgan, and in the Charles Mannhewm 
Collections. Reproduced in Molmier: “Catalogue de la Collection 
Charles Mannheim,” 1898, page 52, No. 188. Figured at the 
Retrospective Exhibition in Paris, in 1900, under the No. 2764. 


The plaque is made after the famous group in the Vatican, originally ornamenting 
the baths of Titus, among the ruins of which it was found in 1506 (reproduced in 
Paul Arndt: “Denkmialer griechischer und rémischer Skulptur,” pl. 100, page 16). 
A similar plaque, but representing Neptune and also attributed to Martin Didier, is 
in the Dutuit Collection, in the Petit Palais in Paris (reproduced in Georges Cain: 
“Catalogue de la Collection Dutuit). Another plaque, representing Orpheus and 
Eurydice, is in the Cottereau Collection (Les Arts, 1910, No. 100, page 16). Many 
others are scattered in museums and private collections, 


(Illustrated) 


Limoces Enamet Puague REPRESENTING “Laocoon anp His Sons STRANGLED BY 
SNaAkKEs” BY THE Master M. D. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


LEONARD LIMOSIN 


Born about 1505 in Limoges; died between 1575 and 1577. Worked in the 
beginning after engravings by Diirer, and later after French and Italian 
models. Was greatly influenced by the school of Fontainebleau. Worked 
for the French Court and executed innumerable portraits in enamel. 


1063—Puaeavet sy Ltonarp Limostn Limoges, Sixteenth Century 
One of the plaques represents Saint Christopher holding the Christ 
Child on his shoulders and crossing the water. He wears a short blue 
a tunic, a brown and gold floating mantle and a turban, while the Infant 
VOGG is naked, except for a drapery floating around His shoulders. In the 
; far distance, on a bridge, kneels Saint Jerome (?) in a blue mantle 
with hood, holding a temple in his hands. Rocks seen in the far dis- 
tance, some flowers and leaves in the foreground, and Renaissance 
motives of playing cupids complete the decoration. 


(Illustrated) 


(Companion to the following) 


Limoges Enamet Prague By Ltonarp Limosin 
(Limoges, Sixteenth Century) 


Kindly read the Conditions under which every item is offered 


and sold. They are printed in the forepart of the Catalogue. 


J$ oo. 


1064—Puaevur sy L&tonarp Limosin 


In the other plaque, against a similarly decorated background, is seen 
Saint Barbara seated on a throne in a mauve gilded gown, showing 
sleeves slashed with white, and the neck and girdle outlined in turquoise- 
blue. She wears a headdress on her head and a floating mantle around 
her shoulders. On her knees is an open book, and in her right hand a 
green palm. A high tower is seen at the left. 


Height, 9% inches without frame; width, 444 inches without frame. 
Formerly in the J. Pierpont Morgan Collection. 


The coloring of the plaques is of great beauty. The figure of Saint Barbara is 
obviously inspired by some design by Primaticcio, while Saint Christopher shows 
great similiarity with types in an engraving signed by Léonard Limosin himself, 
and representing Christ before Pilate (see Cabinet des Estampes, Bibliotheque 
Nationale, Réserve M 1 C7848). The plaques show great similarity in type, coloring 
and decoration with oval plaques in the Cluny Museum by Léonard Limosin (4617 


oe 
(Illustrated) 


(Companion to the preceding) 


Limoces Enamet Prague sy Ltonarp Limosin 


Yy) 


(Sixteenth Centur 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1065—A Sarr Crevuar in Parntep EnamMen 

Limoges, About the Middle of the Staxteenth Century 
Possibly by Jean Court, called Vigier. The salt cellar is hexagonal 
and has in each compartment a different representation. One of them 
% ans shows Venus seated naked on a globe; another a man and a lady dressed 
in the French fashion of the first half of the sixteenth century and 
engaged in a gallant conversation; the third one shows Cupid riding 
on a white horse; the fourth a standing skeleton; the fifth a young 
couple dressed in costumes of the time; the sixth shows a female figure 
representing Abundance. Inscriptions, partly missing, accompany 
each scene. The receptacles for the salt show on top the bust of Helene 
and on the bottom the one of a warrior. Around them are scrolls 

and foliage in painted enamel. Dark blue background. 


Height, 2°, inches; width on top, 3 inches. 


This salt cellar is in a perfect state of conservation and its workmanship is of 
the finest. It is interesting to compare it with salt cellars of the same kind, in the 
Louvre and elsewhere. 


(Illustrated) 


SCHOOL OF COULY NOUILHER or NOYLIER 


Active in Limoges in the second third of the sixteenth century. 


1066—Two Satur DisHEs French, Limoges, Sixteenth Century 


Around the body of the salt dishes are represented the twelve labors 
of Hercules, six in each. Running inscriptions in gold letters, in French, 
so characteristic of Couly’s work, explain the scenes in each compart- 
00. ment. The figures are executed in grisaille against a dark background. 
The receptacles for the salt show busts in the center and they are 
bordered with a continuous garland of leaves and flowers alternately 
white and gold. One of the busts bears the inscription “Hercules,” 
the other “La Belle Dianira.” At the bottom are two other busts, one 
representing ‘La Belle Dianira” and the other bearing the inscription 

“Je suis Eurysthée.” 
Height, 25% inches; diameter, 3%, inches. 


A great number of similar salt dishes, attributed to Couly Noylier or to his 
school, are scattered in museums and private collections. Among them there is one 
in the Cluny Museum representing the labors of Hercules; one was formerly in the 
Boy Collection (Catalogue de la Collection Boy, 1905, No. 211); two others formed 
part of the Lanna Collection in Prag, one representing the labors of Hercules, the 
other showing combined scenes from mythology and from the Old Testament (Cata- 
logue of the Lanna Collection, 1909, Vol. I, pl. 42, Nos. 89-90, and page XLIV, Nos. 
2059-2060). 


No. 1065—Sartr CreLuiar In Paintep ENAMEL 
(Limoges, About the Middle of the Sixteenth Century) 


No. 1066—Two Limoces ENamet Sart Disues, Scuoot or Coury NoviLtHEer or 
Noy.tieR : 


(Siateenth Century) 


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and sold. They are printed in the forepart of the Catalogue. 


PIERRE REYMOND 
Born in Limoges about 1513; died there about 1584. 


1067—A Cur witH CoveER French, Limoges, Sixteenth Century 


pkey 


On the cover is represented the “Triumph of Diana” and her hunting. 
Below is a garland composed of leaves and fruit, and the foot is deco- 
rated with acanthus leaves, human masks, ribbons, garlands and 
cherubs’ heads. The inside shows Venus seated on the Triumphal Car, 
drawn by doves, and in front of her the winged Cupid is seen in the 
clouds. Four other winged Cupids are around.* Grotesque masks and 
garlands of flowers decorate the surface. ‘The scenes are executed in 
grisaille and some decorative details in gold, against a dark back- 


ground. ‘The cup is signed P. R., and dated 1546. 


Height, 10 inches; width, 8 inches. 


There are great similarities with a cup and cover, by Pierre Reymond, in the 
Louvre (No, 616), with another formerly in the Géza de Karasz Collection (repro- 
duced in the Sale Catalogue, pl. 17, No. 2), with one in the Cottereau Collection 
(reproduced in Les Arts, 1910, No. 100, page T5svetc: 

* This scene is identically reproduced on a casquet from the Cottereau Collection, 
executed by Pierre Reymond in 1540, and reproduced in Les Arts, 1910, No. 100, 
page 9. 


(Illustrated) 


Limoges Enamet Cup with Cover spy Pirrre Reymonp 
(Sixteenth Century) 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


PIERRE REYMOND 
Born in Limoges about 1513; died there about 1584. 


1068S—A Ewer French, Limoges, Sixteenth Century 
Around the body is represented the “Triumph of Venus,” and around 
the neck, Jupiter and Juno are seen in chariots drawn by peacocks. 
The rest of the decoration consists in garlands, acanthus leaves, 
rosettes, an egg-and-dart molding, etc. The figures are executed in 
grisaille, and the same white and gray colors are used for the decorative 
details, where also gold is added. Black background. 


Height, 1134 inches with handle. 


Formerly in the J. Pierpont Morgan Collection. 


Many ewers similar to it are scattered in museums and private collections. Among 
them there are three in the Louvre, of which two show many analogies (Nos. 588- 
589); one in the Gutman Collection (reproduced in Catalogue of “Die Renaissance 
Ausstellung in Berlin, 1898, pl. 45, No. 5); one in the Earl of Warwick Collection 
(Catalogue of a special loan exhibition in the South Kensintgon Museum), etc. 


(Illustrated) 


Limoges Enamet Ewer sy Pierre ReyMonp 
(Sixteenth Century) 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


PIERRE REYMOND 
Born in Limoges about 1518; died there about 1584. 


1069—Rectaneutar ENAMELED PLaAQuE 

French, Limoges, Sixteenth Century 
Representing “The Descent from the Cross.” Against a landscape 
background, composed of hills, trees, houses, and a sky strewn with 
stars, the Virgin is seated at the foot of the Cross in a loose mauve 
gown, and a white scarf, over which is a full blue mantle. On her lap, 
on a white shroud, is the body of the dead Christ, with drops of blood 
falling from His wounds. Saint John, in a gray mantle over a blue 
gown, is seated next to the Virgin and supports the arms and head 
of Christ. Behind is Saint Joseph of Arimathea in a blue gown and 
brown mantle, and next to him, to the right, is Saint Nicodemus in a 
gray mantle and turban. The scene is completed by two Holy Women, 
and by Mary Magdalen wearing a scarf draped over her blond loose 
hair, and a dark mantle over a reddish dress. She is seated at the 
feet of Christ, and holds in both hands an ointment box. On the floor 
are the instruments of Passion, the nails, the hammer, the pincers and 
the crown of thorns. Most of the enamels employed for the garments 
and accessories are translucent, applied either on the copper itself or 
on white paint. 


Height, 10% inches without frame; width, 914 inches without frame. 


Formerly in the Schevitch Collection (reproduced in Catalogue, page 
172, No. 223). 


A similar plaque, showing some variation in the background and in the grouping 
of the figures, is in the Cluny Museum in Paris (No. 4647), equally made by Pierre 
Reymond. It is also interesting to compare it with his two plaques in the Louvre, 
one representing the Visitation, the other the Nativity (Nos. 578-579). 


(Illustrated) 


Limoces Enamet Prague By Pierre Reymonp: “THe DresceNnT FROM THE Cross’’ 
(Sixteenth Century) : 


BU 


Kindly read the Conditions under which every item is offered 


and sold. They are printed in the forepart of the Catalogue. 


PIERRE REYMOND _ 
Born in Limoges about 1513; died there about 1584. 
(Pendant to the Preceding Plaque) 


1070—RectTancuLar PiaQuE French, Limoges, Sixteenth Century 


ED ner 


Representing “The Entombment.” Hills, trees, and a sky strewn 
with stars form the background. The body of the dead Christ, with 
drops of blood showing from His wounds, reclines on a white shroud 
over an open tomb, enameled in brown and decorated with horns of 
plenty, with foliage and with human masks. Supporting the shroud 
under the arms of the dead Christ is Saint Nicodemus, wearing a 
reddish gown, and a turban on his head, while at the other end stands 
Saint Joseph of Arimathea in a blue mantle over a brown gown. Next 
to Saint Joseph of Arimathea is standing the Virgin, wearing a white 
wimple and scarf, and a blue mantle over a mauve gown. She is sup- 
ported by Saint John, represented as a youth with blond curly hair, 
and clad in a gray mantle over a green gown. At the feet of Christ 
is kneeling Mary Magdalen, a brown mantle over her blond hair, and 
holding in her hand an ointment box. Two Holy Women complete the 
scene. Most of the enamels employed for the garments and accessories 
are translucent, applied either on the copper itself or on white paint. 


Height, 10% inches without frame; width, 9% inches without frame. 


Formerly in the Schevitch Collection (reproduced in Catalogue, page 
172, No. 224). 


An almost identical plaque, by Pierre Reymond, but differently shaped, is in the 
Cluny Museum in Paris, showing very small variations (No. 4648). 


(Illustrated ) 


Limoges Enamet Prague sy Pierre Reymonp: “Tue EnromBMENT” 
(Sirteenth Century) 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


JACQUES I. LAUDIN, atiso cattep JEAN LAUDIN 
Born in Limoges in 1627; died there in 1695. 


1071—Vase witH Cover French, Limoges, Seventeenth Century 


The decoration of the vase consists in medallions, around which are 

scrolls of leaf-work painted in white on a dark blue ground. In the 

= medallions around the vase are represented, half length, “Judith with 
2 S oO. the Head of Holophernes,” and a lady bearing the inscription of 
*Pochie”; there are also two male busts, while on the cover are seen 

two medallions with heads of Roman Emperors. The colors employed 

for the figures are brilliant blue, crimson, white, yellow, green and 

mauve. In the execution of the whole vase is noticeable imitation of 

the decoration of porcelain, a decoration in great favor at the time 

and of which the principal representatives were the enamelers ‘“Laudin.” 

Height, 5% inches. 


Inscribed at bottom: “Laudin, au faubourg de Manigne a Limoges.” I. L. 


COULY NOUILHER or NOYLIER 


Active in Limoges in the second third of the sixteenth century. 


1072—A WooveEn CaskeET French, Limoges, Sixteenth Century 


Covered with gilt metal and plaques of painted enamel. Around the 
body are eight plaques representing playing and running children. 
In each of the panels is an inscription in gold letters, giving the names 
23, OOo. of the children represented. Among them are seen those of Cacus, 
Perseus, Hercules, etc. On the cover some of the plaques represent 
similar subjects; others contain busts of gods and goddesses. The 
end panels show a decoration of flowers and foliage. The figures are 
executed in grisaille, against a dark ground, and the decorative details 
are in blue, green, gold and white. Height, 47 inches; width, TY inches. 


Formerly in the J. Pierpont Morgan Collection. 


The workmanship of this casket well illustrates the characteristics found in 
almost all the pieces attributed to Couly Noylier. There are the running inscrip- 
tions in gold letters, there is the lack of precision in the design so often met with in 
his productions, but there is also the harmonious composition, so full of life, expres- 
sion and fancy, and the pleasing effect of coloring produced in greater part by their 
translucency. 

There is a casket in the Wallace Collection in London, very similar to it in sub- 
ject as well as in composition (see Molinier and Lady Dilke: “Catalogue of the 
Wallace Collection, pl. No. 256). Another casket of the same character is in the 
Limoges Museum (reproduced in Pierre Lavedan: “Léonard Limosin et les émailleurs 
Frangais, page 112), and still another was formerly in the Boy Collection (Catalogue 
de la Collection Boy, 1905, page 45, No. 209). 


No. 1071—Limoces ENamet Vase with Cover By Jacques I. LaupINn, ALSO CALLED 


Jean Laupin 
(Seventeenth Century) 


No. 1072—A Woopen Casket witH Limoges ENAMEL PLagueE By Couty NoviLHEeR 
or Noyuier 


(French Sixteenth Century) 


3S. 


Kindly read the Conditions under which every item is offered 


and sold. They are printed in the forepart of the Catalogue. 


COULY NOUILHER or NOYLIER 


Active in Limoges in the second third of the sixteenth century. 


1073—A Crrcutar MEpALuion French, Limoges, Sixteenth Century 
Against a dark background are represented, half-length, a man and 
a woman, seated behind a table and playing dice. The costumes worn 
by them are those of the period of Francis I. The figures are executed 
in grisaille with tints of light coloring, and in the upper part runs the 
inscription: “ME CONFIDO.” 


Diameter, 214, inches without frame. 
From the Charles Mannheim and the J. Pierpont Morgan Collections. 


Reproduced in Moliner: “Catalogue de la collection Charles Mann- 
heim,” 1898, No. 178. 


This medallion is an extremely interesting example of the enameler’s art, show- 
ing a representation of every-day life, and reproducing costumes and occupations 
of the time. 


(Illustrated) 


Limoges Enamet Mepauiion sy Coury NovuitHer or Noy.irer 
(Sixteenth Century) 


Kindly read the Conditions wnder which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


WATCHES OF THE EIGHTEENTH AND NINETEENTH CENTURIES 


1074—Goip WarcH French (?) Late Eighteenth Century 


The front of the case shows in the center against a rose-enameled 
ground the bust portrait of a young lady. Around it is an incised and 


ite enameled decoration of scrolls and leaf-work. The back of the case 
shows a dark blue enameled background and an incised decoration in 
gold. 


1075—-Gotp Watcu French Eighteenth Century 
The back of the watch represents executed in colored enamels a myth- 
ological subject. A young warrior, wearing a casquet and armor, over 
moe (ey which is a floating red mantle, takes leave of a young lady seated in 
her room. A golden incised border frames the miniature plaque. 
Face shows the same incised border and a row of pearls. Signed: 

Baillon a Paris. 


Fourth Afternoon 


1076—Goip WartcH Swiss First Half of the Nimeteenth Century 


The back of the case shows a decoration consisting of scrolls, vases 
and eagles in gold repoussé enriched with diamonds and precious stones. 
Lee ‘ Around is an enameled band decorated with a garland and the face 
is surrounded with a row of diamonds. Signed: Patry et Chaudoir a 


Geneve. 
1077—Goxip WatcH English Second Half of the Eighteenth Century 
The back of the case is richly decorated in repoussé work, showing in 
Z the center a mythological subject surrounded with a rococo decoration 
Ou of the eighteenth century. Signed: Joseph Pomroy, London. 


Note: Joseph Pomroy belonged to the Clockmakers Company in 1728. 


Kindly read the Conditions wnder which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1078—Goip Wartcu English First Half of Nineteenth Century 

On the back, against a dark blue enameled background, is a decoration 

TD of scrolls set in with pearls. A row of pearls surrounds the back and 
: the front. Signed: Just and Son. 


1079—Goxip WatcH French Early Nineteenth Century 


The back shows a light blue enameled background. Against it is seen 
a young lady dressed in white with a rose drapery over her left shoul- 

0. der. Leaning back against her lap is an amorino playing with birds. 
Below on a drapery, in dark blue enamel, is an inscription: “Offrande 
a Amour.” Face surrounded by an enameled border of small leaves. 
Signed: Moricaud et Comp. 


Fourth Afternoon 


1080—Goxip Wartcu Late Eighteenth or Early Nineteenth Century 


Jo-0. 


The back shows a rich decoration of scrolls, leaves and flowers executed 
in gold repoussé set with precious stones. A narrow border of vines 
and leaves surrounds the whole and the same border is also seen sur- 
rounding the face, where there is equally a garland decoration of 
leaves and flowers. Signed: Fréres Pernetti 4 Genéve. 


1081—Go.p WartcH Swiss Late Eighteenth Century 


The front of the case shows in the center, in an oval, an enameled min- 
iature portrait of a young lady. Around is an incised decoration of 
scrolls and leaf-work in gold and dark blue enamel. The back shows 
in an oval an enameled floral decoration and around it an incised and 
enameled decoration of branches and leaves. The inside cover shows 
the inscription: Patek, Genéve—Ancre—13—Rubis. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1082—Goxip WarcH French Eighteenth Century, Period of Louis XIV 
This watch shows a decoration of a diamond row of pearls in the 


front. On the back is a decoration of rosettes and leaf-work set with 


diamonds and in the center is a miniature representing a mythological 
subject. Signed: Dufalga a Paris. 


Remarkable state of preservation. 


a 
« 
ay 


4 & 
" 
hy 


5 


1083—Go.ip Wartcu French Eighteenth Century, Period of Louis XVI 


The back is decorated with a continuous garland of leaves and flowers 
/ oo. in openwork set with small diamonds. 


The whole is surrounded by a 
row of diamonds which also surrounds the front. 


Fourth Afternoon 


1084—Gotp Watcn 


ie 


French Eighteenth Century, Period of Louis XVI 


The back shows an architectural setting executed in repoussé work and 
diamonds and decorated with garlands of leaf-work, fruit and flowers. 
Under the arch, in the center, is represented a mythological subject. 
Face surrounded with diamonds. Signed: Berthoud a Paris. 

Note: Berthoud (Ferdinand).—Born in 1727; died in 1807, Foremost watch- 
maker; published also a number of works such as “Hissai sur Vhorlogerie,” 1763; 
“Traité des Horloges Marines,” 1773; “Traité des montres a longitudes,’ 1792; and 
others. 


1085—Goup Warcu French Eighteenth Century, Period of Lows XVI 


oe. 


On the back, in the center, is an enameled miniature representing the 
portrait bust of a lady dressed in the fashion of the Louis XVI period 
and her hair arranged @ la Marie Antoinette. The miniature is framed 
in a row of diamonds and around it is a decoration of leaf-work, flowers 
and ribbons in repoussé work and diamonds. ‘The face is surrounded 
with a row of pearls. Signed: Abraham Colomby. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1086—GoLtp Watcu French Latter Part of the Eighteenth Century 


On the back, in the center, is a miniature representing children playing 
with a dog, most probably executed after one of Greuze’s compositions. 
This central representation is framed in a row of diamond pearls, and 
around it is a garland of leaf-work, flowers and ribbons executed in 
repoussé work and set with diamonds. The front is surrounded with a 
row of diamonds. Signed: Marchand, fils, 4 Paris. 


1087—Go.ip Watcu French Eighteenth Century, Period of Louis XVI 


The back is decorated in repoussé work. In the center in an oval set 
with diamonds is a floral design tied with a ribbon and around it is a 
garland of laurel leaves and twisted ribbons, all of which is set in with 
small diamonds. In the front is a row of small diamonds around the 
surface. Signed: L’Epine a Paris. 

Note: Lepine (Jean Antoine), who generally signed “L’Epine,” was born in 
Gex in 1720. At the age of twenty-four he came to Paris and became watchmaker 
to Louis XV. Died in Paris in 1814. 


Fourth Afternoon 


1088—Go1tp WartcH French Eighteenth Century, Period of Louis XVI 


/ oo, 


On the back, in the center, is a small miniature portrait bust of a lady 
and all around it is a decoration of leaf-work, ribbons and small flowers 
executed in openwork. Face surrounded with diamonds. Signed: 
L’Epine a Paris. 

Note: Lepine (Jean Antoine), who generally signed “L’Epine,” was born in 
Gex in 1720. At the age of twenty-four he came to Paris and became watchmaker 


to Louis XV. Died in Paris in 1814. 


1089—Goup WarcH French Eighteenth Century, Period of Louis XVI 


hee 


The back shows, against a dark blue enameled background, a 
large rosette set with diamonds and rubies. Around it is a delicate 
garland of small leaves in repoussé in green translucent enamel. Face 
surrounded with a row of diamonds and rubies. Signed: Herbeau a 
Paris. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1090—— 


ge 


Gotp WarcH French Eighteenth Century, Period of Louis XV 


The back of the watch shows in the center a miniature medallion repre- 
senting the bust of a young lady dressed in the fashion of the Louis XV 
period. Around it, worked in repoussé and enhanced with small dia- 
monds, are branches of leaf-work and flowers in the rococo style. Face 
surrounded with a row of diamonds. Signed: Morel 4 Paris. 


(Illustrated) 


1091—Go.tp Watcu English Eighteenth Century 


Go. 


The case in which it is set shows a rich decoration in repoussé work in 
gold. In the center is represented a mythological subject. Above, 
floating in the clouds, is the figure of an amorino and all around are 
scrolls and trophies. The watch, in plain gold, is signed: Dev. Bowly, 
London. ‘The inside of the case shows a printed inscription, which 
reads: “‘Barwise and Sons, Chronometer, Watch and Clock Makers, 
to their Royal Highnesses Dukes of York, Kent, Cumberland and 
Gloucester, 329 Saint Martin’s Lane, London.” 


Note: Bowly (Devereux) lived in London between 1716 and 1773; he was re- 
ceived master in 1759. As for John Barwise, he lived in the first half of the 
nineteenth century. 


(Illustrated) 


1092—Goup WarcHu 


— 


Swiss Late Eighteenth or Early Nineteenth Century, Empire Period 


On the back, against a dark blue background, is represented a young 
lady seen to below the waist and holding in her hand a scroll manu- 
script. She wears a white gown in the style of the Empire period and 
over it is draped a scarf. In the upper part is an oval in gold repoussé 
and around it against a blue-enameled sky is a decoration of branches 
of leaves and flowers in colored enamels enriched with pearls. The 
whole is surrounded by a row of pearls which also surrounds the face. 
Signed: Freres Veigneur a Geneve. 
(Illustrated) 


1093—Go.ip WartcH French Early Nineteenth Century 


On the back, against a dark blue enameled background, is seen a young 
lady, dressed in white with a red shawl and seated at a table on which 


ee Oras standing an enameled vase with branches of leaves and flowers. On 


the rim of the table is inscribed: Souvenir. A row of pearls surrounds 
the back and the front. Signed: Clary. 


A watch by Clary showing similarity was formerly in a private collection in 
Berlin. Reproduced in Catalogue by Dr. Emil Bassermann-Jordan, 1912, pl. 13, 


No. 154. 
(Illustrated) 


Frencu, Ena@uisH anp Swiss Warcues or THE EIGHTEENTH AND NINETEENTH 
CENTURIES 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1094—Sitver anp Gotp WartcH 

French Early Nineteenth Century, Empire Period 
On the back, against a grayish enameled background, is represented the 
Tf half-length figure of the Emperor Napoleon I in a gray uniform and 
Jo , a high three-cornered hat. An engraved border of fruit and leaf-work 
is seen around. ‘The inside cover shows a youthful half-length portrait 
of the Emperor with the inscription, NAPOLEON EMPEREUR, 
and the front of the watch shows a mythological subject in beautiful 

repoussé work of the Empire style. Signed: Breguet et fils. 
Note: Bréguet (Abraham Louis). Born in Neuchatel in 1747; died in Paris 
in 1823. Studied in Versailles and made many discoveries in regard to his profession. 


(Illustrated ) 


1095—Go.tp WatcH French Early Nineteenth Century, Empire Period 


The back shows against a dark blue enameled background a large tree 

and a richly decorated fountain at the left. In front of it is a young 

boy filling a cup with fresh water, and next to him, at the right, is 
Hf O» standing his mother, dressed in a gown of the Empire period and holding 

a large bunch of corn. The fountain and stand are decorated with dia- 

monds and the face shows a row of diamonds surrounding it. Signed: 

Jn. Fazy et fils. | 

(Illustrated) 


1096—GoLtp Warcu French Early Nineteenth Century, Empire Period 
On the back, against a dark blue enameled background, is seated a 
young lady dressed in white and holding on her lap a basket. Two 
children seen at the right are holding birds, eating out of the basket. 
T/0 y On top, executed in gold repoussé, is the figure of Victory holding 
crowns. The whole is surrounded by a decoration of pearls, of which 
a row also frames the front. Signed: Breguet a Paris. 


Note: Bréguet (Abraham Louis). Born in Neuchatel in 1747; studied in Ver- 
sailles; died in Paris in 1823. Made many discoveries in his profession. 


(Illustrated) 


1097—An Ovat Crystat Box, Mountrep 1n Goutp witrH TRANSLUCENT 
ENAMELS French Eighteenth Century 


its upper and lower borders a decoration of delicate leaves and flowers 
set with pearls and translucent enamels. 


Jo The box, executed in flawless crystal, is mounted in gold and has on 


1095 1096 


Gop anv Sirver WarcuHes 
(Early French, Nineteenth Century and Empire Period) 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1098—A Sitver Girr Watcu with Crysrau 
French Early Seventeenth Century 
The octagonal watch is set in a crystal case and shows on the face an 
engraved decoration in each of its eight compartments, and on the back 


Js O. a floral design in openwork. Signed: J. Gallier 4 Lyon. 


This watch is an extremely interesting and rare specimen of the early seventeenth 
century workmanship in France. 


1099—Goxip Warcu French (?) Nineteenth Century 


The back and the front of the watch are framed in glass surrounded 

ae by a row of rubies and pearls; the borders are in gold and have an 

lo O incised design of flowers and leaves. The front of the watch shows 

i the Continental time and the back shows the London time and indicates, 
among others, the days of the week. Signed by the letters R. P. 


Fourth Afternoon 


1100—A Bronze Warcu German Late Sixteenth Century 


oe. 


The watch is quadrangular in form and shows on the back and in front 
a beautiful decoration in repoussé consisting of scrolls and leaf-work 
The front side in the center shows a similar decoration, and in the 
four corners are branches of leaves and scrolls. The inside has a floral 
decoration in openwork and an inscription which reads: Siegmund 
Albrecht Kortum Regens. 


This watch is a very interesting and beautiful specimen. 


1101—A Mera, Wartcu Swiss First Half of the Sixteenth Century 


)PS 


The shape is oval, and the back and front outside cases are plain. The 
inside shows in front in the center and on the border a floral decoration 
in openwork beautifully executed. The back shows a similar floral 
design in openwork and around the body is an incised decoration of 
scrolls and leaf-work. Signed: Denis Bordier. 


A very interesting and rare specimen. 

Note: Denis Bordier was born in Cartigny, in Switzerland, in 1629; died in 
1708. Among his watches still in existence there is one in the Louvre in the Garnier 
Collection (Catalogue de la Collection Garnier, pl. XXXII, No. 46); one in the Rijks 
Museum in Amsterdam and several of them have figured at the National Exhibition 
in Geneva in 1896. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1102—A Bopxin Case 1x Goxtp anp TRANSLUCENT ENAMEL 
Swiss Late Eighteenth Century 


Cae The case, executed in gold, is entirely covered with dark blue translucent 
enamel over which, executed in enamel of brilliant colors, are seen 
branches of leaves and flowers bound with ribbons. 


(Illustrated) 


Gotp AND Enamet Bopxrn Case 
French Second Half of the Eighteenth Century, Period of Louis XVI 
qs The case, executed in gold, is entirely covered with light blue enamel 


1103 


over which is a gilded design of garlands of flowers, of leaf-work and 
vases, suspended on ribbons and executed in the most delicate manner 
in the typical Louis XVI period style. Molded gildings are seen on 
the top and bottom as well as around the opening of the case. 


(Illustrated ) 
1104—A Goxp anp Jasper Bopxrn Case 
French About the Middle of the Eighteenth Century 


Gn The case is entirely covered with jasper ornamented with gilt bands of 
leaves, scrolls and flowers in the rococo style. 


(Illustrated ) 
1105—Bopxin Case 1n Jasper Mountrep 1n Goup ‘French About the 
Middle of the Eighteenth Century, Period of Louis XV 
ne The case is executed in jasper and mounted in gold. Over the surface 
oS - 1s a decoration in gold of scrolls, leaf-work and flowers made in the 


style of the Louis XV period. In the upper part is an inscription in 
gold on white enamel which reads: “Gage de mon amitié.” 


(Illustrated ) 


1106—A Bopxrtn Case 
French. Second Half of the Eighteenth Century, Period of Louis XVI 
#) The case shows four plaques executed in translucent enamel showing 
1 rosettes in gilded circle. The borders show a leaf pattern executed 
in gold and set with stones and translucent enamels. 


(Illustrated) 
1107—A Bopxin Case 
French About the Middle of the Eighteenth Century 


The case shows an incised design of the eighteenth century workman- 
4) ship. Five miniatures executed in enamel and showing vases with leaves 
and flowers are seen on the case. 


(Illustrated ) 


FRENCH AND 


1105 


Swiss Gotp Bopxkin Cases or THE EIGHTEENTH 


i ke I SE A Ee Be 


1106 


CENTURY 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1108—A Goup CHatIn 


The chain is worked in twisted ovals and each of them has two tur- 
De quoises mounted in gold. At the end richly mounted in gold and 
turquoise is a seal with the letters of its owner: J. L. de V. 


1109—Inp1an GitpED NECKLACE Eighteenth Century 


Snake chain of two strands, supporting large central bossed stellate 
L drop having ball pendants on three lower points. Flanked by twelve 
0 


graduated similar motives. 
Length, 18 inches. 


1110—A Srat Houper mw Jasper anp Gop 
French Eighteenth Century, Style of the Louis XV Period 


“65 The seal holder, executed in jasper and mounted in gold, shows on top 
3 Oo: the figure of a young lady of whom the lower part of the body is that 
of a horse. The saddle with which she is covered is executed in ormolu 
set with precious stones, and on her head over a tightly fitting bonnet 
is a garland of leaves and rosettes set with stones. The bottom of the 
case, which opens to receive the seal, is decorated with gildings repre- 
senting cupids supporting on their heads a basket of flowers. All 
around are scrolls, branches of leaf-work and garlands of flowers. 


Fourth Afternoon 


1111—A Goup anv Enamet Box German (?) Late Eighteenth Century 


bo 


The box, slightly oval, is almost entirely covered with translucent enam- 
els of various colors. On top and bottom are medallions with myth- 
ological subjects. Around the body are equally medallions, and between 
the compartments are seen palmettes. Inside the lid are the letters 
J. F. F., surmounted by a crown and surrounded by three leaf-work 


motifs. 


1112—Goup anv TorrToIsE-sHELL Box 


JF o 


. 


French Second Half of the Eighteenth Century, Period of Louis XVI 


The body of the box is in tortoise-shell and mother-of-pearl. It is 
mounted in gold and shows an incised design around the borders. On 
top, framed in gold and decorated with garlands of flowers and ribbon, 
is an enameled miniature. It represents an interior and shows a mother 
seated and having her three children around her. The miniature is 
made after one of Greuze’s compositions. 


yes 


f is 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1113—A GtinpED Bronze Praeve with Two MeEpaLiions 


French Late Seventeenth or Early Eighteenth Century, 
Period of Lows XIV 


The plaque, in the form of a frame, is richly decorated with cupids 
standing on vases, with leaves and garlands of fruit and flowers against 
a background strewn with rosettes in small squares. On top above 
a jeweled crown held by the cupid in the center is a palmette, and over 
it a suspension. On either side of the cupid is a miniature portrait 
medallion surrounded by a row of diamond stones and representing two 
ladies in costumes of the Louis XIV style. On the back in the center 
are the letters LL interlaced and surmounted by a crown. 


(Illustrated ) 


1114—A Goxp ann Enamen, Mremoranpum Case 
French Second Half of the Eighteenth Century, Period of Lowis XVI 


The case is executed in gold and covered with plaques of dark blue 
enamel decorated with gildings in the Louis XVI style. In the front 
and in the back are two enameled miniatures representing the winged 
Cupid in a garden of flowers. The frame in which they are set with 
branches of leaves and cupids holding crowns. Above, inscribed with 
diamond stones, is the word: Souvenrr. The inside of the case 
contains a golden pencil and an ivory writing tablet. 


(Illustrated ) 


1115—A Goup ann Enamet Mrmoranpum CasrE 


3 WAS 


French Second Half of the Eighteenth Century, Period of Louis XVI 
The case is entirely covered with translucent red enamel. It is mounted 
in gold and the decorations are executed in the Louis XVI style. In 
the front and in the back are two medallions representing on one side 
a young lady seated in a landscape and on the other side a young boy 
holding birds in his hat and accompanied by a dog. In the upper part, 
on both sides, is inscribed the word Souvenir in golden letters. The 
inside contains a pencil with a golden edge and a writing tablet in 


ivory. (Illustrated) 


SMALL PowpDER-BOX IN JASPER AND GOLD French About the 
Middle of the Eighteenth Century, Period of Louis XV 


The box is made entirely in jasper and is mounted in gold. The deco- 
rations on the lid and around the body consist in scrolls, leaf-work and 
flowers made in the rococo style of the Louis XV period. On the rim 
of the lid, on white enamel, is an inscription in gilded letters which 
reads: “Votre Amitié en est le prix.” 


“. ‘ 
thot A TRA. 


<i a tag eae: sega 
onek Shaan Ve 


Adbde 


No. 1113—A Giupep Bronze Piague witn Two MeEpa.iions 
(French Late Seventeenth or Early Eighteenth Century, Period of Louis XIV) 


Nos. 1114-1115—Go.ip anp Enamet Memoranpum Cases 
(French Second Half of the Eeighteenth Century, Period of Louis XVI) 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1117—Goxp Box wirn Five Miniatures 1n ENAMEL French About the 
Middle of the Eighteenth Century, Period of Louis XV 


The box, executed in gold, is rectangular in shape. It is wrought and 
chased with leaves and curves in the rococo style enclosing six car- 
Sites touches. In five of them are enameled miniatures representing pas- 
5 toral and “conversations galantes” scenes in the manner of Boucher, 
so greatly appreciated at that time. The persons represented wear 
costumes in the style of the Louis XV period. The six cartouches 
on the bottom of the box are filled with bleu-de-roi translucent enamel, 
Signed on the inside with the letters: L. P. Pillieux 1774. 


Formerly in the James A. Garland Collection. Reproduced in Sale 
Catalogue, 1910, No. 48. 


(Illustrated) 


1118—Goup Box Coverep wirH ENAMEL 
French Early Eighteenth Century, Period of Louis XIV 


ri The box is on the outside entirely covered with enamel. On the cover 

20 Oo. in the center, framed in a golden frame, is represented the portrait of a 
lady of the Court of the Louis XIV period. She wears a gown in the 
fashion of the time and has her hair arranged in the same stylish way. 
Inside, the maker’s mark, showing a fleur-de-lis and a floral motif. 


(Illustrated) 
1119—A Goxp anp ENnaMELED Box French Eighteenth Century 
} The box has an elongated oblong shape. It is in gold, covered with 
20. enamel and decorated around the borders with a floral design incised 


in gold. Signed in the inside F. J., surrounded by three floral motives. 


1120—A Gop anp EnameLep Box German Eighteenth Century 


The cover of the box shows in the center, surrounded by a row of 

£50 diamonds, an enameled miniature representing a mythological subject 
in which a man is taking leave of his wife and child seen to the right. 
The rest of the gold box is covered with dark blue enamel on which 
is a decoration of leaves incised in gold. 


This box, of such exceptionally rich finish, belonged to the Princess Frasso, 
cousin of the Princess of Hohenberg, who was killed by her husband, the Archduke 
Francis Ferdinand of Austria. The Princess Frasso inherited this box from her 
mother, the Baroness de Gudenau, who was a great friend of the Empress Charlotte, 
from whom she received the box and who told her that it originally came from the 
Emperor Joseph I of Austria. The box came from the De Frasso family to its present 
owner and the description accompanying it was written by a member of the Frasso 
family. 

(Illustrated) 


7 


111 


1118 


Pca tiaease 


5 
ae 
i a 


he 


% 


“Goapecergsente: 


1120 


Goup ano Ename.t Boxes or THE EIGHTEENTH CENTURY 


Kindly read the Conditions wnder which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1121—A Go.p ann Enametep Box Swiss Late Eighteenth Century 


Zoo. 


The box is of octagonal oblong shape and is almost entirely covered 
with translucent enamel. On the cover is an enameled plaque repre- 
senting Venus and Cupid against a light landscape background. A 
gilded border of small leaves surrounds the miniature, and around it 
are several enameled and gilded borders, repeated around the bottom 
plaque of the box, of which the center is covered with blue translucent 
enamel. On the inside are the letters A. V. surmounted by a crown, 
and under them is a small cross. 


1122—Goup Box. 


200. 


French Second Half of the Eighteenth Century, Period of Louis XVI 
The box, of elongated oval form, is executed in gold and is decorated 
in the upper and lower central panels with a pattern imitating waves. 
The borders show garlands of leaves and flowers; around the body are 
seen vases of flowers, and in the center of the border of the lid is a 
decoration of leaves and roses set with rubies and diamonds. On the 
inside is seen the monogram G.A. referring most probably to the owner 
of the box. 


Fourth Afternoon 


1123—Goup Box Parrrty EnamMeEeep 


Loo. 


French (?) Late Eighteenth or Early Nineteenth Century 
The box is executed in gold and covered with plaques of dark blue 
enamel with an incised gilded and floral design. On the cover is an 
enameled miniature representing busts of two winged cupids in clouds. 
Signed in the inside with the monogram C.K. and with the letters S. C. 


1124—Go.p Box Parrry Ename.ep French Late Eighteenth Century 


/ bo. 


The box is oval in shape and has on top, bottom and sides plaques 
painted in pink translucent enamel. Around the borders is a twisted 
chain ornamentation and around the body are classical columns show- 
ing, between them, flowers, musical instruments and trophies. Signed 
in inside of box J. B. and a mark showing a serpent and the letters AP. 


1125—A Rounp Box 1n Torrotsk-sHELL 


Cs 


French Late Eighteenth or Early Nineteenth Century 


The decoration of the box consists in gilded rosettes, scrolls, leaves, 
stars and acanthus leaves. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1126—Goxip Box wirn REPRESENTATIONS OF Oxtp RomeE 
German Eighteenth Century 


The box, rectangular in shape, is covered on all its sides with enameled 
3850 plaques representing thirty-five views of Rome in which the principal 
; monuments are minutely and accurately rendered. The mounts are in 
gold and show an incised design of leaves and rosettes of the eighteenth 
century style. Signed in front: P. Frau de Bobus Pinxit. 


This box is one of the most curious and interesting specimens of its kind, show- 
ing, executed with the utmost skill, the views of Rome, These views, though executed 
on a very small scale, are worked to perfection, bringing out every detail of each 
building. 

(Illustrated) 


1127—Rowunpv Box 1x Gotp ann TrRAaAnstucENT ENAMEL 
Swiss Late Eighteenth Century 


_— 


$ The box, round in shape, is almost entirely covered with Royal Blue 
2 ; translucent enamel, on which is an ornamentation consisting in a vase 
filled with flowers and in borders of small leaves and flowers, the whole 
executed in gold and colored translucent enamels. The inside shows 
a monogram A.I.C. surmounted by a crown. 


(Illustrated) 


1128—A Gop anp Crystat Box 

French About the Middle of the Eighteenth Century 
The box, in amethyst with natural crystal attached to it, shows on 
the cover a genre scene executed in repoussé in gold. On a rock, sur- 
rounded by trees, is seated a young lady to whom a young man is 
| [S* presenting a box of flowers. Another lady from behind a tree is looking 
on at the scene, and all around are leaves, scrolls and flowers executed 

in the rococo style. 


An extremely interesting box of fine execution and finish. 


1129—A Go xp anp Enamet Case ror a Notesoox French (?) About the 
Middle of the Eighteenth Century, Style of the Period of Louis XV 

The case, covered with dark blue enamel, is richly decorated with scrolls, 

eure: branches of leaf-work and garlands of flowers worked in the rococo 
f ]° eighteenth century style. Rows of diamonds enhance the decoration. 


Inside is a notebook and a golden pencil, and on the case above the 
lock are seen the letters M D and the number 72. 


(Illustrated) 


1126 


1127 


1129 


Gotp Boxes or THE EIGHTEENTH CENTURY 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1130—Goutp CHRONOMETER French Nineteenth Century 
The mounting and the case are in gold. 


JIO : An inscription on the inside cover reads: “Echappement a cylindre. Quatre trous 
garnis en joyaux. Aiguilles.” 


11381—Imporrant Buackx Seat Bac Firrep with Goup UTeEnsIts 


Made by Tiffany at Mr. Caruso’s Order 


Conventional shape; with hinged oblong lower portion. The top lined 
with gilded black calf and fitted in 18-kt gold with two large oval 
perfume bottles, two smaller bottles, cut-crystal flask having gold 
mounting, similarly mounted crystal spray and large round powder- 
puff. The lower portion lined with calf and arranged with two trays 

/So0 fitted with six-day repeating watch in oblong domed case, whisk brush, 
two reeded trays, mirror, shoe horn, two pairs of scissors, file, tweezers, 
cuticle knife, button hook. ‘The under tray with soap box, two shaving 
soap boxes, tooth-brush case, two clothes brushes, two pomade boxes, 
gold-back tortoise-shell comb, buffer, small oval flask, two large and a 
smaller hair brush. The gold mountings and various utensils are 
finished with simple reedings and are monogrammed E.C. 


Height, 15 inches; length, 19 inches. 


Note: This elaborate bag, with its fittings of pure gold, was never used by Mr. 
Caruso. 


1132—EmpromERED DaALMATIQUE 
English Siateenth Century, Elizabethan Period 


The dalmatique, in the form of a loose tunic with short loose sleeves, 
Tae is richly decorated and embroidered with roses, carnations, tulips and 
/ strawberries diversified with various insects. Some of these decorations 
are worked in petit-point, others are embroidered in silks of various 

colors, others are in gold and silver. 


This dalmatique is a most characteristic example of embroidered vestments from 
the Elizabethan period. Many garments of this period showing the same kind of 
embroideries are extant. They can also be seen in portraits of the time. (See, among 
others, reproductions in Kendrick: “English Embroidery,” Frontispiece, and pages 
74-75; Allan Cole: “Ornament in European Silks,” page 185, No. 155 and page 187, 
and “Burlington Fine Arts Club,” 1905, pl. 30.) 


(Illustrated) 


No. 1132—EmsBroimpERED DaALMATIQUE 
(English Sixteenth Century, Elizabethan Period) 


0 Oe 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1183—Ve iver Empromwrrep CuasusteE English Early Sixteenth Century 


The chasuble, of exceptionally fine quality, is of dark blue velvet. It 
is decorated with conventionalized flowers, with fleurs-de-lis and with 
six winged seraphs standing upon wheels. ‘These ornaments are all 
separately embroidered and then applied, and they are surrounded by 
tendrils and rays dotted with spangles. The orphreys show the Christ 
on the Cross, and on either side are angels holding chalices to receive 
the blood dropping from the hands of Christ. Above is seen the Holy 
Spirit in the form of a dove, and below, under a canopy, is standing 
Saint James the Less, to whom was probably dedicated the church for 
which this chasuble was made. The four major prophets—Isaiah, 
Jeremiah, Ezekiel and Daniel—are also standing under canopies. One 
of them is represented below Saint James the Less and the Crucifixion, 
the other three are on the front orphrey. Architectural details sur-_ 
round the personages. ‘The embroideries are executed in colored silks 


and gold. 


This chasuble belongs to a large group of chasubles showing the’ same workman- 
ship and characteristics. Among the most important are: A cope in the collection 
of Lady O’Hagan; a chasuble in the possession of Mr. G. Troyte Chafyn-Grove; a 
chasuble in the Church of SS. Peter and Paul, in Brailes; a cope and a chasuble in 
the Oscott College, Birmingham, all reproduced in “The Burlington Fine Arts Club— 
Illustrated Catalogue of English Embroidery,” 1905, pl. X, XI, XV and XXI. 

The South Kensington Museum in London also conserves several specimens of 
the same character. Among them there are several chasubles and a cope, reproduced 
in “Catalogue of English Ecclesiastical Embroideries in the Victoria and Albert 
Museum,” London, 1916, pl. XXI-XXVI. 

Outside of England, similarly decorated copes and chasubles are scattered in 
Museums and private collections. Among them are three pieces in the Cluny Museum 
in Paris (De Farcy: “La Broderie du 11-16 siécle,” pl. 67); a cope in the Historical 
Museum in the Chamber of Commerce in Lyons (Cox: “L’art de décorer les tissus,” 
pl. 32); a cope in the Brussels Museum (Isabelle Errera: “Collection des Broderies 
anciennes au Musée Royal de Bruxelles,” page 20, No. 26); etc. 


(Illustrated) 


oe 
2) 
m 
& 
fi 
3 


No. 11883—Vextvet EmBromDERED CHASUBLE ~ 
(English Early Sixteenth Century) 


Kindly read the Conditions under which every ttem is offered 
and sold. They are printed in the forepart of the Catalogue. 


11384—FirtrentH Crentury FLORENTINE “PoLycHROME TERRA-coTTA Bust 


ee 


or Pirro DE Gino Caproni 

This life-sized bust of Pier Capponi, the Florentine patriot, shows him 
in full face clothed in a loosely gathered robe laced up at the throat 
and with bushy curling hair falling to his shoulders. It has a molded 
hexagonal base and is supported on a bracket with molded and shaped 
apron, the plinth of which is inscribed in Latin as follows: ‘Optimus . 
GG Merca. Dignus . Ovem. Cernis . Denique . Laude. Fuit . Omnium . 
Foelix . Tali . Florentiae . Aliumno . Posse . Putas . Unquam . Te . 
Reperire . Parem,” a eulogy, namely, of the patriot “whose lke,” it 
says, “Florence shall never see again.” 


Height, 43°% inches; width, 284 inches. 


Note: In addition to its artistic value, the historical interest of this lifelike bust 
is very great. Pier Capponi, as the Florentines called him, by his sturdy honesty and 
fearlessness delivered his city from the tyranny of Piero de’ Medici. His blunt, “It 
is time to end this baby government,” was the only weapon needed to depose Piero 
and drive him from the city. More famous, however, is his reply to Charles VIII 
when, in 1495, the French King threatened to sound his trumpets unless the exorbitant 
sum he exacted from the city were paid. “Then we will ring our bells,” retorted 
Capponi, and the French King yielded and left Florence. 


(Illustrated) 


No. 11384—Portycurome Trrra-cotra Bust or Pirro pE Gino Capponi 
(Florentine Fifteenth Century) 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


ITALIAN SCHOOL 


SIXTEENTH CENTURY 


1185—_THE DESCENT FROM THE CROSS 


S On Oak Panel: Height, 37 inches; length, 43 inches 

Co - 

Our Lord rests on a linen drapery toward right supported by Nicodemus and 
St. John, Joseph of Arimathea standing nearby. The Holy Virgin and the 
Magdalene are at left beholding the beloved Saviour. The draperies of rich 
crimson greatly enhance the decorative color scheme. 


GIROLAMO BEDOLO MAZZUOLA (catten MAZZOLINO) 
Parma: 1570— 


1136—ITALIAN PAINTING ON WOOD 
Die Painting: Height, 40% inches; width, 30 inches 


Representing the ‘‘Adoration of the Shepherds.” The picture is treated in 
the usual manner of sacred pictures in the Italian art of the Renaissance, and 
together with the Virgin, the Child, St. Joseph and the Shepherds, there are 
represented several other persons. In the midst of these last-named, the figure 
of a noble lady ‘in the background, with a striking face and costume, takes 
the eye; very probably it is the portrait of the lady to whose order the picture 
was created as a votive offering. In original gilded wood frame. 


(Illustrated) 


ead 


RE go 


Oe ad PN gr 


me 


oe 


sig, ME 


~ 
‘i 


<r 


ante 
~ 


a 
a 


TO = Nea A BF 
n> 
a <gsn oan 
ce 


a a 


Ba 


tence Rn 


ies 
oO 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


11387—Marsie Revier REPRESENTING THE VIRGIN AND CHILD AND Two 


37 00. 


ANGELS 
Italian, Tuscan School; Second Half of the Fifteenth Century 


The Virgin is seen seated on a chair of the Savonarola type, of which 
the arms are decorated with rosettes. She wears a gown gathered 
around the neck and around the waist line, over which is draped a 
mantle covering her head, shoulders and the lower part of her gown. 
Strands of loose curly hair are seen from under the veil on either side 
of her face, her hands are folded in prayer, her eyes half closed, and 
her head bent forward as she looks down on the Infant Jesus lying 
naked on her lap, with His head against a cushion. On either side of 
the Virgin is a winged angel with arms folded in adoration. They 
wear long puffed robes in the fashion of the time, and their hair, 
parted in the middle and tied with a laurel garland around their heads, 
is long and curly. Nimbi are behind their heads, as they are also 
behind those of the Virgin and Child. A curtain suspended in the back 
forms the background. Framed in a richly ornamented frame of six- 
teenth century workmanship, of which the frieze in the upper part is 
decorated with griffons, masks, scrolls and leaf-work. 


Height, without frame, 18 inches; width, 15 inches. 
Height, with frame, 43 inches; width, 84 inches. 


The types of the Virgin and Child, as well as those of the angels, are of exquisite 
charm. The artist who modeled them seems to have been influenced by Benedetto 
da Majano and by Rossellino. He also recalls to a certain extent the works of 
Domenico Rosselli. He is full of delicate feeling in rendering the expressions, as 
well of the Virgin as of the angels, and the relief as a whole constitutes a fine, well- 
balanced and highly decorative example of fifteenth century workmanship in Tuscany. 


(Illustrated) 


No. 1137—-Mareie Revier REPRESENTING THE ViRGIN AND CuILp anp Two 
ANGELS 


(Italian Tuscan School; Second Half of the Fifteenth Century) 


ENRICO CARUSO 


Original Caricature of Himself 
[See No. 1165] 


SIXTH AND LAST SESSION 
THURSDAY, MARCH 8, 1923 


IN THE ASSEMBLY HALL 


OF 


THE AMERICAN ART GALLERIES 


BEGINNING AT 8.15 O'CLOCK 


Catalogue Numbers 1138 to 1350, inclusive 


1188. Bacua (Eucrne). Les trés belles Miniatures de la Bibliothéque Royale 
y de Belgique. 57 miniatures reproduced in heliotype, on 56 plates. 
b. Small folio, loose sheets, laid in board portfolio with ties. 

Bruxelles and Paris, 1913 


1139. Batzac (Honort). Les Contes Drolatiques. With 425 illustrations 
by Gustave Doré. 8vo, half morocco, sprinkled edges, rubbed. 
20 Paris, 1855 


First Eprrion with THE Gustave Dor ILLUSTRATIONS. 


1140. Brxextas (D.). Nouvelles Grecques. New Edition. Nwmerous text 
illustrations. 8vo, half red morocco, gilt sides and back, gilt top, 
— uncut. Paris, 1897 


J. 


With book plate of Emanuel Levy. 


1141. Boccaccio (Giovannt). Decamerone. Engraved portraits. Royal 4to, 
original stamped vellum, red edges. 


f In Londra, Presso Giovanni Nourse, 1762 


VERY FINE EDITION. With bookplates of Enrico Caruso and of Emanuel Levy. 


1142. Carnovate (Lurer). Why Italy Entered into the Great War. [Eng- 
lish and Italian Text.] Thick 8vo, cloth. Chicago, 1917 


a : PresENTATION copy to Enrico Caruso from the Author, with following autograph 
inscription—“Al sig. Enrico Caruso, omaggio di Luigi Carnovale. Chicago.” 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1143. Caruso (Enrico). Caricatures by Enrico Caruso. New Edition, issued 
with the Approval of the Artist. A series of caricatures occupying 

JO. most of the 184 pages, many with several to the page. Folio, 
cloth, with reproduction of cartoon on front cover. 


New York, 1914 


With oricrn al. CARICATURE, in ink, of Caruso, by Caruso, inserted. 


1144, Caruso (Enrico). Same as the preceding. Folio, cloth. 
New York, 1914 


if O , With oricINat CARICATURE, in pencil, of Caruso, by Caruso, inserted. 


1145. Caruso (Enrico). Same as the preceding. Folio, cloth. 
New York, 1914 


So ae src 
J 2 : With oriGINat CARICATURE, in ink, of Caruso, by Caruso, inserted. 


1146, Caruso (Enrico). Same as the preceding. Folio, cloth. 


SO New York, 1914 
/ With oriGINaL CARICATURE, in pencil, by Caruso, inserted. 


1147. Caruso (Enrico). Same as the preceding. Folio, cloth. 
New York, 1914 


5 O With orternaL CARICATURE, in ink, by Caruso, inserted. 


1148. Caruso (Enrico). Same as the preceding. Folio, cloth. 
New York, 1914 


/ Oo, With ortctnaL CARICATURE, in ink, of Caruso, by Caruso, inserted. 


1149. Caruso (Enrico). Same as the preceding. Folio, cloth. 
New York, 1914 


/ Ou With orretnaL CARICATURE, in ink, by Caruso, inserted. 


1150. Caruso (Enrico). Same as the preceding. Folio, wrappers. 
New York, 1914 


Jo A With FINE ORIGINAL CARICATURE, in pencil, of Caruso, by Caruso, inserted. 


1151. Caruso (Enrico). Same as the preceding. Folio, wrappers. 
New York, 1914 


/ QO, With FINE ORIGINAL CARICATURE, in pencil, of Caruso, by Caruso, inserted. 


1152. Caruso (Enrico). Flint (Mary H.). Impressions of Caruso and 

his Art, as Portrayed at the Metropolitan Opera House. With 

Je eA 11 portraits, and reproduction of fantastic drawing by Caruso. 
12mo, half cloth, gilt top, uncut. 

New York: Privately Printed, 1917 


With ortginan CARICATURE, in pencil, of Caruso, by Caruso, inserted. 


Evening Sale 


1158. Caruso (Enrico). Another copy of the preceding. 


fs SO With oriernat caricature, in ink, of Caruso, by Caruso, inserted. 


154. Caruso (Enrico). Another copy of the preceding. 


Ce With oricgtnaL caricature, in pencil, of Caruso, by Caruso, inserted. 


1155. Caruso (Enrico). Another copy of the preceding. 


4 With orteinat caricature, in ink, of Caruso, by Caruso, inserted. 
s 


1156. Caruso (Enrico). Another copy of the preceding. 


oS. With ortgmnat caricature, in ink, of Caruso, by Caruso, inserted. 


1157. Caruso (Enrico). Another copy of the preceding. 


‘e. With ortginaL cartcarure, in ink, of Caruso, by Caruso, inserted. 


1158. Caruso (Enrico). Another copy of the preceding. 


Author’s Presentation Copy, with autograph inscription, “To Enrico Caruso, 


y at) adrwration from the author, Mary H. Flint.” 


With ortcrnat caricature, in pencil, of Caruso, by Caruso, inserted. 


1159. Caruso (Enrico). Another copy of the preceding. 


C Z With ortgtnat caricature, in pencil, of Caruso, by Caruso, inserted. 


1160. Caruso (Enrico). Another copy of the preceding. 


S e With orteginat caricature, in ink, of Caruso, by Caruso, inserted. 


1161. Caruso (Enrico). How to Sing: Some Practical Hints. Portrait. 


8vo, original paper wrappers. London, no date 
MS 5 With an inserted orteInat caricature of himself, in pencil, signed “Enrico 
Caruso.” 


ORIGINAL CARICATURES BY ENRICO CARUSO 


The Collection of Caricatures listed below is wirHouT DOUBT THE FINEST 
COLLECTION EVER OFFERED AT PUBLIC SALE. EvERY SKETCH IS THE HANDIWORK 
oF Enrico Caruso, MANY OF THEM SIGNED IN HIS AUTOGRAPH. Included are 
a large number of sketches of Caruso himself, both in and out of costume, as 
well as most of the well-known opera stars, other musicians and other noted 
persons. Many of the Caricatures are the originals of those published in 
“Caricatures by Caruso,” New York, 1914. 


1162. Caruso (Enrico). Oricrnan caricature of himself, as Rudolph, in 
“Ta Bohéme.” Cotorep crayon. Bust portrait. Height, 714; 


27 $0 width 71% inches. Matted. 
/ 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1163. Caruso (Enrico). OrictnaL caricaTureE of himself, in ink. Bust. 
Signed in ink, Enrico Caruso, Manchester, 1911. Height, 10°4; 
b g! 
oe width, 414 inches. Matted. 


1164. Caruso (Enrico). “FE schezo ed é follia.” Signed, Enrico Caruso, 

=e Hamburg, 1911. Oriervan caricarure of Caruso, as Turridu, in 

38 “Cavalleria Rusticana.” Drawn in ink. Height, 12; width, 7 
= inches. Matted. 


1165. Caruso (Enrico). Oriernat caricature of himself in full dress, in 
India ink. Full-length. Height, 18; width, 8 inches. Matted. 


Js “ [See Reproduction | 


1166. Caruso (Enrico). Orternan caricature of himself, in crayon. Full- 
De length. Height, 22; width, 10 inches. Matted. 


1167.(Caruso (Enrico). Oricinan caricature of Oscar Hammerstein in 
Jo crayon. Full-length. Height, 714; width, 584 inches. Matted. 


1168.\ Caruso (Enrico). Caruso’s “Thanksgiving Cartoon.” Signed, Enrico 
Caruso, New York, 1913. OricinaL caricaTuRE. of Conductor 
Hertz as a turkey, in crayon. Height, 2914; length, 27 inches, 
Matted. 


1169. Caruso (Enrico). Oricrnan caricature of Maestro Papi, Metropol- 
ee itan Opera House, in ink. Head. Height, 10; width, 7 inches. 
Ray Matted. 


1170. Caruso (Enrico). OricinaL caricature of Pini-Corsi and Alfred 
~y Seligsberg, in pencil. Two figures, full length, on one sheet. 
j 5 Mieght, 10; length, 1214 inches. Matted. 


1171. Caruso (Enrico). Two orternat caricatures of himself. One in 

pencil, full-length. Height, 18; width, 714 inches; one in pen and 

FO. ink, bust. Signed, Enrico Caruso. Height, 43¢; width, 31 inches. 
Together, 2 pieces. Each matted. 


1172. Caruso (Enrico). Two oricina caricatures of himself. Bust por- 
trait in India ink. Height, 6; width, 514 inches; [anv] half-length 

by Coe portrait, dated “4d Potsdam, 22/10/912,” in Caruso’s autograph. 
Height, 91; width, 714 inches. Together, 2 pieces. Each matted. 


1175. 


1176. 


ieee 


IS. 


1178. 


Evening Sale 


. Caruso (Enrico). Two oricinaL caricatures of himself. One in 


character, as Jonson in “The Girl of the Golden West,” full- 
length. Height, 148; width, 7% inches; one in full dress, full- 
length. Height, 1734; width, 8 inches. Together, 2 pieces, in 
pencil. Each matted. 


. Caruso (Enrico). Two oricInaAL CARICATURES; comprising,—Percy 


Pitt, Conductor, Covent Garden, London. Head. Height, 7; 
width, 45g inches; [anno] William T. Guard, Metropolitan Opera 
House. Full figure. Height, 2214; width, 684 inches. Both in 
pencil. Together, 2 pieces. Matted. 


Caruso (Enrico). THREE orIGINAL CARICATURES of himself. One in 
“La Traviata,” colored crayon. Full-length. Height, 614 ; width, 
214 inches; [anv] in “Pagliacci,” in pen-and-ink. Full-length. 
Height, 7; width, 334 inches; [ arso] portrait head, in pencil, signed 
“Enrico Caruso, Wien, 1911.” Height, 414; width, 314 inches. 
Together, 3 pieces. Each matted. 


Caruso (Enrico). Five oRI1GINAL CARICATURES ; comprising,—The Music 
Critic of the “Mundo,” Havana, profile head, in pencil. Signed, 
Enrico Caruso. Height, 10; width, 8 inches; Rev. P. Maltese, full- 
length, in pencil. Height, 19; width, 714 inches; Maestro Buzzi- 
Peccia, head, in pen-and-ink. Height, 6; width, 41% inches ; Richard 
Strauss, head, pen-and-ink. Height, 8; width, 5 inches; Alfred 
Seligsberg, half-length, profile, in pencil. Height, 744; width, 4 
inches. Together, 5 pieces. Each matted. 


Caruso (Enrico). Six ORIGINAL CARICATURES; comprising,—One of 
himself, head, in pencil. Height, 634; width, 55g inches; Richard 
Strauss, profile head, in pencil. Height, 10; width, 614 inches; 
and other pencil sketches. Together, 6 pieces. Each matted. 


Caruso (Enrico). SEvEN ORIGINAL CARICATURES; comprising,—Him- 
self, head, in pencil. Height, 1014; width, 614 inches ; Sigfrid Wag- 


ner, head, in ink. Height, 714; width, 414 inches; St. Nicolas of 


in pencil. Together, 7 pieces. All matted. 


]: S06 Bari, head, pen-and-ink. Height, 7; width, 4% inches; and 4 others 


LLG. 


Caruso (Enrico). SEVEN ORIGINAL CARICATURES} comprising,—Mr. 
Colaizzi, restaurant proprietor, bust, in pencil, signed Enrico 
Caruso. Height, 714; width, 414 inches; Pini-Corsi, baritone, full- 


/2 . so length, in pencil. Height, 11°4; width, 7 inches; Oscar Hammer- 


stein, full-length, in pencil. Height, 6; width, 5 inches; and 4 
others in crayon and pencil. All matted. 


Kindly read the Conditions wnder which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1180. Caruso (Enrico). SEVEN ORIGINAL CARICATURES; comprising,—Baron 
Emile D’Erlanger, London, profile head, in pen-and-ink. Signed, 
Enrico Caruso. Height, 8; width, 6 inches; Richard Strauss, head, 
De in blue pencil. Height, 10; width, 814 inches; Eugene Ysaye, full- 
; length, in pencil. Height, 514; width, 3 inches; Cubist sketch of 
Oscar Hammerstein, pencil. Height, 614; width, 6 inches; smaller 
heads, in pencil, of James B. Regan, Knickerbocker Hotel; Mr. Del 
Pezzo; and one other Cubist sketch in ink. Together, 7 pieces. 

Each matted. . 


1181. Caruso (Enrico). EicHTr oRIGINaAly CARICATURES; comprising,—Pen- 
and-ink sketch of Caruso at the head of a line of tourists, showing 
him in full length, in profile, with a camera in his hand, followed 
by a youth in knickerbockers, a child with alpine stick, a lady with 

Ks = a large hat and parasol, a smaller lady with parasol, and another 

; man. Height, 644; length, 1034 inches; three heads of children, 
on two sheets, in pen-and-ink; three women’s heads, in pencil; and 
two men’s heads, also in pencil. Together, 8 pieces. Each matted. 


1182. Caruso (Enrico). Ercur oriGINaAL CARICATURES; comprising,—Pencil 
sketch, with head in ink, of himself in the “Ballo in Maschera,”’ full- 
length. Height, 1014; width, 8 inches; William T. Guard, Press 
Bureau of the Metropolitan Opera House, full-length, in pen-and- 

2 O ink. Height, 10; width, 414 inches; Mischa Elman, bust, in pencil. 
: Height, 8; width, 5 inches; Maestro Giorgio Polacco, head, in pencil, 
Height, 1014 ; width, 7 inches; and four others. Together, 8 pieces. 

All matted. 


1183. Caruso (Enrico). E1cHr orIGINAL CARICATURES; comprising,—Pen- 
and-ink sketch of himself, in “Carmen.” Height, 9; width, 6.inches ; 
S50 Maestro Polacco, head with foreshortened body, in pencil. Height, 
Ae 10; width, 7 inches; Nahan Franko, outline head, in pencil. Height, 
7; width, 5 inches; also pencil sketch of a woman, bust profile; and 

four others, also in pencil. Together, 8 pieces. All matted. 


1184. Caruso (Enrico). Ercur oriGiInaL CARICATURES; comprising,—Himself 

in character, in ‘Ballo in Maschera,” head, in pen-and-ink. Height, 

}9 § 4 63g; width, 6 inches; and 7 others in crayon, ink, and pencil. 
: Together, 8 pieces. All matted. 


1185. Caruso (Enrico). Ercur oriGINaAL CARICATURES; comprising,—Pencil 
sketch of himself in the “Ballo in Maschera,” head. Height, 7; 
JO < width, 5 inches; two pencil sketches of heads, one in profile, about 
. 11 by 8 inches each; another head, in pencil, 7 by 6 inches, and 
four other smaller pencil sketches. Together, 8 pieces. Each 

matted. 


Evening Sale 


1186. Caruso (Enrico). EicHrT orIcInaAL CARICATURES; comprising,—Pen- 


ol 


and-ink sketch of himself, in “Pagliacci,” bust. Height, 614; 
width, 5% inches; and other pencil sketches. Together, 8 pieces. 
Each matted. 


1187. Caruso (Enrico). EicHr or1GInaL CARICATURES; comprising,—Mr. A. 


J } Go 


Seligsberg, full-length, in pencil. Signed, Enrico Caruso, N. Y., 
1913. Height, 714; width, 6 inches; Harold Bauer, profile head, 
in blue and black crayons. Height, 6; width, 6 inches; Richard 
Strauss, head, in pencil. Height, 6; width, 514 inches; also, full- 
length of Oscar Hammerstein, in pencil; sketch of three heads; 
a profile (presumably Geraldine Farrar); India ink sketch of a 
“Spaghetti Eater” (10 by 8 inches), and one other pen-and-ink 
sketch. Together, 8 pieces. Each matted. 


1188. Caruso (Enrico). NINE ORIGINAL CARICATURES; comprising,—Pencil 


wo. 


sketch of himself, profile of the face only. On the reverse is a 
profile sketch of Caruso’s head formed out of the letters of his first 
name, and another, the face only, formed out of his initials. Height, 
614 ; width, 5 inches; Nahan Franko, profile head, complete sketch 
in pencil. Height, 8; width, 5 inches; Buzzi-Peccia, head, in pencil. 
Height, 6; width, 5 inches; Conductor Toscanini (2), full-length 
line sketch in pen-and-ink. Height, 11; width, 7 inches, and another 
small head, in pencil; Ignace Paderewski, head, in pencil. Height, 
714; width, 514 inches; and three other sketches. Together, 8 
pieces. All matted. 


1189. Caruso (Enrico). NINE ORIGINAL CARICATURES; comprising,—Pencil 


pe. AWe) 


sketch of himself in the “Ballo in Maschera,” three-quarter length, 
full face. Height, 8; width, 514 inches; Hermann Sudermann, 
head, wash sketch in blue ink. Height, 8; width, 514 inches; James 
B. Regan of the Knickerbocker Hotel, bust, in pencil. Height, 
714 ; width, 5 inches; Mr. Harriman, bust profile, in pencil. Height, 
7; width, 5 inches; and five other smaller heads. Together, 9 pieces. 


All matted. 


1190. Caruso (Enrico). NINE ORIGINAL CARICATURES; comprising,—Pencil 


a” 


sketch of himself, in “Pagliacci,” profile face, im pencil. Height, 
514; width, 35¢ inches; Gatti-Casazza, bust, in pencil. Height, 
41/,; width, 4 inches; L. Mugnone, Conductor, head, in crayon. 
Height, 514; width, 334 inches; Seligsberg, profile face, in pencil. 
Height, 514; width, 384 inches; and other sketches in pencil and 
pen-and-ink. Together, 9 pieces. Each matted. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1191. Caruso (Enrico). NINE ORIGINAL CARICATURES; comprising,—Crayon 
sketch of himself, head. Height, 534; width, 534 inches; Ciro 

/0 : Liguori, wine dealer, profile bust, India ink. Height, 884; width, 
41/4, inches; and 7 others in pen-and-ink, India ink, and pencil. 
Together, 9 pieces. All matted. 


1192. Caruso (Enrico). NINE ORIGINAL CARICATURES ; comprising,—T wo pen- 
cil sketches of himself on one page, one three-quarter length; height, 
8; width, 5 inches; the other, head; height, 5; width, 284 inches; 
both in character in “Pagliacci”; Pietro Mascagni, composer, pro- 
Js: file bust, in crayon. Height, 7; width, 314 inches; Ignace Paderew- 
ski, bust, in pen-and-ink. Height, 6; width, 5 inches; and 7 other 
heads, two facing each other on one page, in pen-and-ink and in 
pencil. Together, 9 pieces. All matted. 


1193. Caruso (Enrico). NINE ORIGINAL CARICATURES; comprising,—Outline 
pencil sketch of himself and Geraldine Farrar, in “Ballo in Mas- 

0 chera,” full-length. Height, 12; width, 814 inches; Mr. Talbott, 

4 profile, bust, in crayon. Height, 9; width, 4 inches; 2 full-length 
figures of men, in ink; 2 heads in crayon and pencil, and 3 women’s 

heads in pen-and-ink and pencil. Together, 9 pieces. All matted. 


1194. Caruso (Enrico). NINE orIGINAL CARICATURES ; comprising,—Mr. Neil 
Forsyth, Covent Garden, London, profile bust, pen-and-ink. Signed, 
Enrico Caruso. Height, 614; width, 314 inches; Richard Strauss, 
— head, in pencil. Height, 1014; width, 714 inches; President Car- 
ir ranza of Mexico, head, crayon. Height, 914; width, 614 inches; 
Raymond Hitchcock, profile head, in pencil. Height, 714; width, 
514 inches; Mr. Pasternack, Victor Talking Machine Company, 
head, in pencil. Height, 8; width, 5 inches; 3 other less elaborate 
caricatures in pencil; and 1 Cubist design in ink. Together, 9 

pieces. All matted. 


1195. Caruso (Enrico). NINE ORIGINAL CARICATURES; comprising,—Alfred 
Hertz, conductor, half-length back view, in pencil, signed, Enrico 
Ve Caruso. Height, 8; width, 7 inches; Arigo Serato, violinist, profile 
‘ head, crayon. Height, 1214; width, 734 inches; Maestro Polacco, 
} full-length, pen-and-ink. Height, 934; width, 5 inches; De Segu- 
rola, profile bust, in pencil. Height, 87%; width, 47% inches; 
Marziole Lisca, Editor La Fouia, profile bust. Height, 1914; 
width, 1014 inches; and 4 others in pencil. Together, 9 pieces. 

All matted. 


Evening Sale 


1196. Caruso (Enrico). NINE ORIGINAL CARICATURES; comprising,—Sefior 


Lye 


Menocal, President of Cuba, profile head, in pencil. Signed, Enrico 
Caruso, Habana, 1920. Height, 9; width, 8 inches; Gatti-Casazza, 
Cubist sketch, full-length, in pencil. Lettered in Caruso’s avro- 
GRAPH, “Non é€ maimone maegrande omone—Figure parlanti,” with 
a cat on top of a house, in lower corner. Height, 10; width, 8 
inches; Enrico Scognamillo, head in a carafe, India ink. Lettered 
by Caruso, ‘““Non Bevo!!!” Height, 10; width, 6 inches; also heads 
of Maestro Polacco, Madame Gemma Bellincioni, Charles Dana 
Gibson, in pencil; Andres de Segurola and Oscar Hammerstein, in 
ink; and one other pencil sketch. Together, 9 pieces. Each matted. 


1197. Caruso (Enrico). NINE ORIGINAL CARICATURES; comprising,—Dr. C. 


as 


Paterno, head, in pencil. Signed,—Enrico Caruso. Height, 8; 
width, 434 inches ; Geraldine Farrar, profile head, in pencil. Height, 
5; width, 4 inches; Bella Alten, profile head, in pencil. Height, 7; 
width, 514 inches; L. Calderazzo, head on a plate with crossed 
knife and fork behind it; in ink. With “Non Mangio!!!” lettered in 
Caruso’s autograph below. Height, 10; width, 8 inches; smaller 
heads of George Maxwell of Ricordi & Co., N. Y.; Jules Speck and 
Maestro Setti, of the Metropolitan Opera House; Sefior Fontanilo, 
Social Editor of the Havana, Cuba, “Diario”; and one other, all 
pencil sketches. Together, 9 pieces. Each matted. 


1198. Caruso (Enrico). TEN ORIGINAL CARICATURES; comprising,—Pencil 


wae 


sketch of himself, bust portrait, in profile, with hat and fur-collared 
overcoat. Drawn on sheet of notepaper of Dobbs & Co., Hatters. 
Height, 10; width, 6 inches; Cubist head of a woman, in pencil; 
profile head of a woman, probably Geraldine Farrar, in pencil; 
and seven other pencil sketches of heads. Together, 10 pieces. 
Each matted. 


1199. Caruso (Enrico). TEN oRIGINAL CARICATURES; comprising,—Pen-and- 


a 


ink sketch of himself in the “Ballo in Maschera,” full- length. 
Height, 11; width, 8 inches; De Janni, tenor, pupil of Caruso, 
head, in Heel Height, 6; width, 4 inches; Conductor Carillo, 
head, in pencil. Height, 5; width, 4 inches; three other heads in 
ink, two in pencil and two full-length figures. Together, 10 pieces. 
All matted. 


1200. Caruso (Enrico). TEN oRIGINAL CARICATURES; comprising,—Himeelf, 


oe? 


profile, head, crayon. Height, 334 ; width, 234 inches; G. Puccini, 
bust, in pencil. Height, 634; width, 37% inches; Enrico Scogna- 
millo, Cubist head, India ink. Height, 6; width, 214 inches; Saha 
7 others in pen-and-ink and in au Together, 10 pieces. Al! 
matted. 


Kindly read the Conditions wnder which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1201. Caruso (Enrico). TEN oRIGINAL CARICATURES; comprising,—M. Sem- 


een 


1202. Caruso (Enrico). TEN ORIGINAL CARICATURES; comprising, 


Jo. 


bach, bust, in India ink. Signed, Enrico Caruso. Height, 6; width, 
41 inches; Richard Strauss, bust, in India ink. Height, 10; width, 
7 inches; G. Charpentier, bust, in pen and ink. Height, 7; width, 
5 inches; Maestro G. Papi, full-length, in pencil. Height, 714; 
width, 314 inches; and 6 others. Together, 10 pieces. All matted. 


Ciro 
Liguori, wine dealer, full-length, pen-and-ink, signed, Enrico Caruso, 
N. Y.1910. Height, 1214; width, 71% inches; 5 sketches of women, 
head and bust, in crayon and pencil; one man’s head, profile, in 
crayon; and 3 smaller heads in pencil. ‘Together, 10 pieces. All 
matted. 


1203. Caruso (Enrico). ELEVEN ORIGINAL CARICATURES; comprising,—Out- 


1O 


line pencil sketch of himself, head. Height, 6; width, 3 inches; 
Mischa Elman, head and collar, crayon. Height, 5; width, 314 
inches; Antonio Scotti, head, in pencil. Height, 4; width, 2 inches; 
Senora Pennino, Havana, Cuba, head, crayon. Height, 4; width, 


31% inches; and 7 others in pencil and crayon. Together, 11 pieces. 
All matted. 


1204. Caruso (Enrico). ELEvEN orGINAL CARICATURES; comprising,—Full 


On 


length sketch of himself in “Pagliacci,” in pencil. Height, 12; 
width, 6 inches; 3 pencil sketches of members of the orchestra 
named (in Caruso’s autograph) Flauto, Trombone and Contra- 
basso. Height, 7; width, 5 inches each; pencil sketch of Saint- 
Saens, showing only his eye-glasses, moustachios and beard. Height, 
7; width, 6 inches; four other smaller heads, in pencil; one three- 
quarter figure of a woman, in pencil; an outlined profile of a man, 
in ink. Together, 11 pieces. All matted. 


1205. Caruso (Enrico). ELEvEN ORIGINAL CARICATURES ; comprising,—Pencil 


ye 


sketch of himself, as Samson, profile. Height, 6; width, 41% inches; 
Cubist sketch of a man, bust portrait; six heads of members of the 
Metropolitan Company and others, in pencil; two other pencil 
heads; and one in pen-and-ink. Together, 11 pieces. All matted. 


1206. Caruso (Enrico). ELEVEN ORIGINAL CARICATURES; comprising,—signor 


ek 


Formosa, bust, in pencil. Signed, Enrico Caruso. Height, 714; 
width, 5 inches; Mr. Wiley, of the New York “Times,” bust, in 
pencil, Height, 7; width, 5 inches; A. Seligsberg, profile head, in 
pencil. Height, 4; width, 314 inches; also five other smaller heads 
in pencil, one full-length and one head in pen-and-ink, and a full- 
length character sketch in ink. Together, 11 pieces. Each matted. 


Evening Sale 


1207. Caruso (Enrico). ELEVEN ORIGINAL CARICATURES; comprising,—Him- 


[s+ 


self, head, pen-and-ink. Height, 53¢; width, 3 inches; Mrs. Sperio, 
head, crayon. Height, 814; width, 514 inches; Ignace Paderewski, 
head, in pencil. Height, 4144; width, 414 inches; and 8 others in 
pencil, pen-and-ink, and crayon. Together, 11 pieces. All matted. 


1208. Caruso (Enrico). ELEVEN ORIGINAL CARICATURES; comprising,—H. H. 


jie 


Higgins, General Manager Covent Garden, profile head, in pencil. 
Signed, Enrico Caruso. Height, 6; width, 5 inches; Pasternack, 
of the Victor, bust, in pencil. Height, 714; width, 416 inches; 
Seligsberg, profile head, in pencil. Height, 35 ; width, 314 inches; 
Richard Strauss, head, in pencil, crayon and ink. Height, 534; 
width, 53g inches; and other pencil, crayon and ink sketches. 
Together, 11 pieces. Each matted. 


1209. Caruso (Enrico). ELEVEN ORIGINAL CARICATURES; comprising,—Nahan 


ae 


Franko, head, in pencil. Signed,—Enrico Caruso, N. Y. 1912. 
Height, 7; width, 5 inches; Geraldine Farrar, profile, in pencil. 
Height, 8; width, 5 inches; Gatti-Casazza, full-length Cubist sketch 
in ink. Height, 9; width, 6 inches; Richard Strauss, bust, in pen- 
and-ink. Height, 8; width, 514 inches; one other ink sketch, five 
smaller heads in pencil, and pencil sketch of head of a French bull- 
dog. Together, 11 pieces. Each matted. 


1210. Caruso (Enrico). TWELVE ORIGINAL CARICATURES; comprising,—E. 


a 


Scognamilla, head, in pencil. Signed, Enrico Caruso. Height, 8; 
width, 5 inches; R. Leoncavallo, head, in ink. Height, 11; width, 
8 inches; full-length character sketch in pencil; and nine other 
heads, in pencil. Together, 12 pieces. Each matted. 


1211. Caruso (Enrico). TWELVE ORIGINAL CARICATURES: comprising,—Dr. 


LO. 


Charles Paterno, bust, in pencil, signed, Enrico Caruso. Height, 
714 ; width, 4 inches; and 11 others in pencil and crayon. Together, 
12 pieces. All matted. 


1212. Caruso (Enrico). ‘THIRTEEN ORIGINAL CARICATURES: comprising, 


FS. 


Himself in character in “Pagliacci,” half-length profile, in pencil. 
Height, 8; width, 6 inches; E. Missiano, baritone, three-quarter 
length, profile, in pencil. Height, 934; width, 684 inches; Seligs- 
berg, head, crayon. Height, 7; width, 4 inches ; Sefior T’. Pennino, 
Havana, Cuba, profile head, crayon. Height, 37, ; width, 31/4, inches ; 
and 9 others in crayon, pencil, and pen-and-ink. Together, 13 
pieces. All matted. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1213. 


/O. 


1215. 


1218. 


50 


/2. 


Caruso (Enrico). THIRTEEN ORIGINAL CARICATURES; comprising,— 
Himself, head, in pencil. Height, 77%; width, 514 inches; G. Doni- 
zetti, bust, in pen and ink. Height, 644; width, 514 inches; Pas- 
quale Amato, head, in crayon. Height, 10%; width, 714 inches; 
and 10 others. Together, 13 pieces. All matted. 


. Caruso (Enrico). THIRTEEN ORIGINAL CARICATURES: comprising,— 


Pen-and-ink sketch of himself in “Ballo in Maschera,” full-length. 
Height, 101% ; width, 7 inches; Prompter of the Metropolitan, bust, 
crayon. Height, 7; width, 314 inches; Luigi Caldarazzo, head and 
collar, in India ink. Height, 5; width, 314 inches; Georges Char- 
pentier, bust, in pencil. Height, 7; width, 414 inches; 2 sketches 
of Antonio Scotti, one profile head on urn, the other outline profile ; 
and 7 others. Together, 13 pieces. All matted. 


Caruso (Enrico). THIRTEEN ORIGINAL CARICATURES; comprising,— 
Pen-and-ink sketch of himself, in “Pagliacci,” head. Height, 
41%, ; width, 414 inches; Charpentier, head, in pencil. Height, 7; 
width, 5 inches. Buzzi-Peccia, head, in pencil. Height, 45¢ ; width, 
21% inches; Alfred Seligsberg, head, in pen-and-ink. Height, 634; 
width, 414 inches; and other pencil sketches. Together, 13 pieces. 
Each matted, 


. Caruso (Enrico). THIRTEEN ORIGINAL CARICATURES; comprising,— 


His face, in ink. Height, 67%; width, 414 inches; Leo Ditrichstein, 
profile bust, in crayon. Height, 6; width, 314 inches; and other 
pencil and ink sketches. ‘Together, 13 pieces. Each matted. 


. Caruso (Enrico). THIRTEEN ORIGINAL CARICATURES; Ccomprising,— 


Dr. Briganti, profile head, in pencil. Signed,—Enrico Caruso. 
Height, 7; width, 5 inches; outline sketch of Caruso, in the “Ballo 
in Maschera,” head, in pen-and-ink. Height, 8; width, 6 inches; 
and a similar sketch in pencil; Antonio Scotti, head, in pencil. 
Height, 5; width, 3 inches; Conductor Nikish, bust, in ink, name 
lettered in Caruso’s aurocraPpH. Height, 8; width, 514 inches; 
two heads in ink, and six other pencil sketches. Together, 13 
pieces. All matted. 


Caruso (Enrico). THIRTEEN ORIGINAL CARICATURES: comprising,— 
G. T. Conti, bust, in pencil, signed, Enrico Caruso. Height, 7; 
width, 314 inches; Dr. Charles Paterno, profile bust, crayon. 
Height, 8; width, 4 inches; Antonio Scotti, profile head, in pencil. 
Height, 614; width, 4 inches; a horsewoman, profile head; and 9 
others in pencil and crayon. ‘Together, 13 pieces. All matted. 


Evening Sale 


1219. Caruso (Enrico). THIRTEEN ORIGINAL CARICATURES; comprising,— 
Arigo Serato, violinist, full-length, crayon, signed, Enrico Caruso, 
1914. Height, 1214; width, 5 inches; Gatti-Casazza, profile bust, 
S crayon. Height, 7; width, 414 inches; Mr. Wiley, New York T'imes, 
Ce, ; © bust, in pencil. Height, 634; width, 314 ; Ignace Paderewski, bust, 
pen-and-ink. Height, 6144; width, 414 inches; M. Toscanini, half- 
length, pen-and-ink. Height, 1014; 214 inches; and 8 others in 

pen-and-ink and in pencil. Together, 13 pieces. All matted. 


1220. Caruso (Enrico). THIRTEEN ORIGINAL CARICATURES AND DRAWINGS; 
comprising,—Gianni Viafora, cartoonist, bust, in pencil, signed, 

Enrico Caruso. Height, 8; width, 47% inches; Antonio Scotti, 

ga profile head, in pencil. Height, 8; width, 334 inches; Stracciari, 

VB de bust, in pencil. Height, 934; width, 584 inches; and 10 others in 
pencil, pen-and-ink, and crayon. Together, 13 pieces. All matted. 


1221. Caruso (Enrico). FourTEEN ORIGINAL CARICATURES; comprising,— 

Dr. A. Stella, bust, in pencil. Signed, Enrico Caruso. Height, 

es 734; width, 434 inches; and 13 others in crayon, ink and pencil. 
/ Together, 14 pieces. All matted. 


1222. Caruso (Enrico). FourrgEN ORIGINAL CARICATURES; comprising,— 
Pencil sketch of himself as ‘Don Carlos,” bust. Height, 7; width, 
21% inches; Richard Hageman, head and collar, pen-and-ink. 
2.) Height, 7144; width, 5 inches; Giulio Rossi, bass, bust, pencil. 
Jb: Height, 7; width, 5 inches; Antonio Scotti, bust, in pencil. Height, 
714; width, 4 inches; 2 pen-and-ink sketches, one full-length, one 

bust ; and 8 others in pencil. Together, 14 pieces. All matted. 


1223. Caruso (Enrico). FourtTrEN ORIGINAL CARICATURES; comprising,— 

One of himself, face profile, in pencil. Height, 7; width, 484 inches ; 

Sembach, Tenor, as “Walter,” head, in India ink. Height, 7; width, 

Pi &@ 5 inches; Nahan Franko, Violinist, head, in pencil. Height, 514; 

ve ‘ width, 414 inches; and other pencil and ink sketches. Together, 14 
pieces. Each matted. 


1224. Caruso (Enrico). FirrrEN oRIGINAL CARICATURES; comprising,— 
Portrait of himself, in pencil. Height, 814; width, 55< inches; 
ig Louis Mann, profile head, in pencil. Height, 6; width, 4 inches; 
/ Q Scotti, profile face, in pencil. Height, 734; width, 414 inches; Mr. 
. George Maxwell, face, in pencil. Height, 314; width, 2 inches; 
Mr. Ercole Canessa; and other pencil, crayon and ink sketches. 

Together, 15 pieces. Each matted. 


Kindly read the Conditions under which every item is offered 


and sold. 


They are printed in the forepart of the Catalogue. 


1225. Caruso (Enrico). Firrren ORIGINAL CARICATURES; comprising,—Pen- 


20. 


and-ink sketch of himself and Geraldine Farrar in “Ballo in 
Maschera,” full length figures. Height, 9; width, 8 inches; Head 
of a “Beauty,” profile of a woman with elaborate hat, choker collar, 
etc., in pencil. Height, 8; width, 5 inches; another similar 
“Beauty,” in pencil. Height, 11; width, 8 inches; five other smaller 
pencil sketches of women’s heads, all in profile; and seven sketches 
of men’s heads, also in pencil. Together, 15 pieces. Each 
matted. 


1226. Caruso (Enrico). FirreEN ORIGINAL CARICATURES; comprising,— 


va 


Dr. De Felice, head, in pencil. Signed,—Enrico Caruso. Height, 
6; width, 316; Sefior Chane, Music Critic of “El Diario Espagnol,” 
Havana, bust, in pencil. Height, 1014; width, 814 inches; Maestro 
Hertz, in pencil. Height, 9; width, 414; and other pencil and ink 
sketches. Together 15 pieces. Each matted. 


1227. Caruso (Enrico). FIrrEEN ORIGINAL CARICATURES; comprising,—M. 


I. = 


P. Breen Giudice, bust, in pencil. Signed, Enrico Caruso, 
9/12/9138. Height, 614; width, 414 inches; Puccini, profile head, 
in pencil. Height, 4; width, 244 inches; Leopoldo Mugnone, Con- 
ductor, head, in pencil and crayon. Height, 584 ; width, 344 inches; 
De Segurola, profile head, in pencil. Height, 414 ; width, 3 inches; 
Mr. Speck, of the Metropolitan Opera House, Bella Alten, a large 
portrait of De Segurola, Postenack of the Victor; and other pencil 
and ink sketches. Together, 15 pieces. Each matted. 


1228. Caruso 1n “Arpa.” Srnpona (D.C.). A Series of 14 ortemnat Inpia 


INK CARTOONS, signed by the artist,—“D. C. Sindona, °18.” On a 
single sheet of bristol board, height, 1414; length, 2214 inches. 
Matted. 


EXTREMELY CLEVER AND AMUSING SERIES OF SKETCHES OF Caruso as “RApDAMES,” 
through the various scenes, including the “Triumphal March,” his death in the 
sealed tomb, his resuscitation before the footlights after the final curtain, and 
the departure of the audience in tears at the tragedy. 


1229. Caruso In “Pacuiacct.” Srnpona (D. C.). A Series of 14 opigtnaL 


geet 


INDIA INK CARTOONS, signed by the artist,—‘D. C. Sindona, 718.” 
On a single sheet of bristol board, height, 1414 ; length, 221% inches. 
Matted. 


HIGHLY INTERESTING AND AMUSING SERIES OF SKETCHES OF CARUSO IN HIS MOST 
FAMOUS ROLE, beginning with a sketch of him peeping through the curtains to 
view the “house,” his entry with the donkey cart, beating the drum, etc., through 
to his final bow before the curtain. 


Evening Sale 


1230. Casanova (GrtAcomo). Historia della mia Fuga dalle Prigioni della 

Republica di Venezia dette “il Piombi,” scritta a Dux, in Boemia 

Panno 1787. Illustrated title-page in colors, 37 full-page plates 

including portraits and several plates in colors, and numerous illus- 

Jo : trations in the text. 4to, full citron sheepskin, title lettered on front 
on painted green ground within gilt ornamental border, uncut. 

Milano, 1911 


Ep1zionge pi Lusso, 50 copies printed on Van Gelder paper, of which this is, 
No. XI. 


With bookplate of Enrico Caruso. 


1231. Cervantes (Micurn pre). Les Principales Aventures de |’Admirable 
Don Quichotte. With 31 full-page engraved plates by Coypel, 

Picart le Romain, and others. Title in red and black with copper- 

plate vignette. 4to, full crimson levant morocco, sides with elab- 

ae orate corners and center design in gilt dentelle in the style of Le 
Gascon, back panels gilt tooled aw pointillé, broad inside gilt bor- 

ders, gilt top, uncut, by M. RITTER. Liege, 1776 


FINE LARGE COPY, WITH BRILLIANT IMPRESSIONS OF THESE FAMOUS PLATES. 


1232. Crsarr, —Cartoonist. One Hundred Cartoons by Cesare. A series of 
cartoons which originally appeared in the-New York “Sun” and in 
“Harper’s Weekly,” relating to the recent World War. Imperial 
S8vo, boards, cloth back. Boston, 1916 


Vf (Or Presentation Copy, inscribed, “Signor Enrico Caruso, Christmas, 1917. Compli- 
ments of Nadina Parker Calvert,” in the autograph of the donor. 


1233. CuEetminsxi (Jan V.). L’Armée du Duché de Varsovie. Texte par le 
Commandant A. Malibran. With 48 full-page colored plates by 

Jan V. Chelminski; 10 other plates, some colored, and 24 engrav- 

ings in the text. Folio, full green French levant morocco, sides and 

if ae panelled back with gilt fillet, gilt top, inside borders of morocco 
with gilt fillet and ornamental corners, uncut. Paris, 1913 

One of 269 copies on papier d’Arches (numbered 81 to 300), of which this is, 


No. 57. 
With bookplate of Enrico Caruso. 


1234. Cuénier (Anprt). Ocuvres Poétiques de André Chénier. With 
introduction and notes by Eugéne Manuel. With etched portrait 

bs of the author in two states, one proof before letters. 8vo, full 

Me S, _%© olive green French crushed levant morocco, sides with gilt fillet and 
ornamental corners, full gilt panelled back, inside dentelle borders, 

gilt over uncut edges, by cuzin. Paris, 1884 


Larce paper. One of 15 copies on Whatman paper, numbered 16 to 30, this 
being No. 26. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1235. Cuinest Arr. Ars Asiatica. Etudes et Documents Publiés sous la 
Direction de Victor Goloubew. La Peinture Chinoise au Musée 
Cernuschi. Avril-Juin, 1912. Par Edouard Chavannes et Raphaél 


” Petrucci. Frontispiece and 50 plates, each hinged to leaf of light 
0: brown drawin aper, with. tissue guard-sheet. Royal 4to, wrap- 
Sf aed s os , Pp 

pers, uncut and unopened. Bruxelles, 1914 


Dr Luxe Eprrion, printed throughout on Imperial Japan paper, limited to 25 
copies. 


1236. Corns anp Mepats. Venuro (Ropotrimno). Antiqua Numismata 
Maximi Moduli Aurea, Argentea, Aerea, ex Museo Alexandri 
S. R. E. Card. Albani in Vaticanam Bibliothecam. Title vignettes, 
Ws 2 50 numerous copperplate vignettes in text and 120 plates of coms. 
2 vols. folio, half morocco, rubbed. Rome, 1789-1794 


1237. Coins anp Meparts. Warp (Joun). Greek Coins and their Parent 
Cities. Accompanied by a Catalogue of the Author’s Collection 

§ 0 by G. F. Hill. Numerous illustrations. 4to, cloth, binding slightly 

: shaken. London, 1902 


1238. CorneILLE (Prerre). Théatre choisi de Corneille, avec une Notice 
par M. Poujoulat. With engraved portrait and, 25 vignettes by 
Foulquier. Royal 8vo, full olive-green levant morocco, gilt fillet 

So frames and corner designs on sides, full gilt paneled back, inside 
fillet borders, gilt edges, original wrappers and backbone bound 
: in, By CANAPE. In chamois-lined board slip-case. Tours, 1880 


/ 


Limrrep Eprrion, 10 copies only printed on chamois paper, of which this is, 
No. 7. Unusually choice copy in a handsome Canape binding. 


1239. Cossa (Pierro). Nerone, Commedia in cinque atti in versi, con Prologo 
e Note Storiche. 16mo, stitched, uncut. Milano, 1911 


5 ; With Caruso’s avrocrapH sIGNatuRE,—“‘Prop. Enrico Caruso,’ in pencil on 
half-title. 


1240. Costume Piarrs 1x Cotors. Mason (Grorcr H.). The Costume of 
China, with Explanations in English and French. With 60 full- 
page plates, engraved in stipple by J. Dadley after designs by Peu 

iG Qua, COLORED By HAND. Folio, full contemporary green straight- 
yi : grain morocco, gilt sides and back, gilt edges, binding rubbed. 

London: William Miller, 1800 

First Eprrion. Interiorly a fine copy, with the plates clean and free from 


fox-marks, the colors fresh and brilliant. This was the first volume of this 
splendid series of Costume Plates in Colors, issued by W. Miller. 


Evening Sale 


1241. Costume Puares 1x Cotors. Cuinese. Punishments of China, with 


Oh 


Explanations in English and French. With 22 full-page plates, 
engraved in stipple by J. Dadley, cotorED By HAND. Folio, full 
contemporary green straight-grain morocco, gilt sides and back, 


gilt edges; offset of plate on title. London: W. Miller, 1801 


First Eprrion. FIrne IMPRESSIONS, CLEAN, FRESH COPY. 


1242. Costumr Puates in Cotors. Russtan. The Costume of the Russian 


/ | SO 


Empire. With Descriptions in English and French. With 73 full- 
page plates engraved in stipple by J. Dadley and coLoRED BY HAND. 
Folio, full contemporary green straight-grain morocco, gilt sides 
and back, gilt edges. London: William Miller, 1803 


First Enrrion. SPLENDID COPY, IN SPOTLESS CONDITION, WITH BRILLIANT PLATES 
AND COLORING. 


1243. Costume Piatrers 1n Cotors. Austrian. Moxevitie (B. pe). The Cos- 


/S- 


tume of the Hereditary States of the House of Austria, with Descrip- 
tions, and an Introduction. Translated by R. C. Dallas. With 50 
full-page plates, engraved by W. Ellis, coLorED By HAND. Folio, full 
contemporary green straight-grain morocco, gilt sides and back, 


gilt edges. London: William Miller, 1804 


First Eprrion. CLEAN, FRESH COPY, IN FINE CONDITION THROUGHOUT. 


1244. Cosrumr Puarrs 1x Cotors. Turxisn. The Costume of Turkey, with 


Jo. 


Descriptions in English and French. With title-vignette m colors 

and 60 full-page plates engraved by J. Dadley and W. Poole after 

O. Dalvimart, coLoRED By HAND. Folio, full contemporary green 
straight-grain morocco, gilt sides and back, gilt edges. 

London: W. Miller, 1804 [1802 | 

The French title-page and all the plates are dated 1802, the date 1804 appear- 


ing on the English title only. Crean, FRESH COPY, WITH BRILLIANT COLORING IN 
THE PLATES. 


1245. Costume Pirates 1x Cotors. Yorxsuire. [Warker (Grorce).| The 


eS: 


Costume of Yorkshire. With Descriptions in English and French. 
With 40 full-page aquatint plates by R. and D. Havell after G. 
Walker, coLoRED By HAND. Folio, full green morocco, gilt sides 
and back, gilt edges. London: Longman, etc., 1814 

First Eprrion. Fine COPY, WITH BRILLIANT IMPRESSIONS OF THESE BEAUTIFUL 


COLORED AQuatTints. They are faithful presentments of British peasantry and 
other country life, sport, etc. 


1246. Costume Piarrs 1n Cotors. Earty BririsH. Meyrick (S. R.) anp 


Smiru (C. H.). The Costume of the Original Inhabitants of the 
British Islands, from the Earliest Periods to the Sixth Century; 
[ Continued 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


No. 1246—| Continued | 
to which is added, that of the Gothic Nations on the Western Coasts 
of the Baltic, the Ancestors of the Anglo-Saxons and Anglo-Danes. 
Frontispiece title and 24 full-page aquatint plates by R. Havell, 
COLORED BY HAND. Folio, full contemporary green straight-grain 
morocco, gilt sides and back, gilt edges; binding scraped. 
London: R. Havell, 1815 


First Eprrion. Finer 1MPRESSIONS OF THESE BEAUTIFUL AQUATINT PLATES, WITH 
UNFADED COLORS. 


1247. Costume Piates 1n Cotors. Encusu. Strutr (JosepH). A Com- 
plete View of the Dress and Habits of the People of England, .. . 

To which is prefixed an Introduction, containing a general Descrip- 

_, &o tion of the Ancient Habits in use among Mankind, . . . New and 
2 Improved Edition, with Critical and Explanatory Notes, by J. R. 
Planché. With 142 full-page engravings in color. 2 vols. royal 

4to, half dark blue morocco, gilt sides and backs, gilt tops, uncut. 


First issue with the notes by Planché. London, 1842 
With bookplate of Enrico Caruso. 


1248. Cosrume Pxrarrs 1n Cotors. Illustrations of English and Foreign 
Costume, from the Fifteenth Century to the Present Day. A Series 
Ss of 96 full-length portraits, engraved by Pauquet Brothers after 
os Ss © designs of Albert Durer, Titian, Holbein, Vandyck, Dupré, and 
others. Small folio, half cyan blue levant morocco, gilt back and 
sides, gilt edges, BY RIVIERE. London, 1875 

With bookplate of Enrico Caruso. 


1249. Davuver (ALPHonsE). Fromont Jeune et Risler Ainé. Moeurs Pari- 
siennes. With 12 engravings after Bayard by J. Massard. 2 vols. 
8vo, three-quarter Antwerp blue French levant morocco, gilt sides 


Jo . and backs, gilt tops, uncut, by p’auTEvIL. Paris, 1885 
Edition limited to 350 copies on papier vélin du Marais, of which this is, 
No. 349. 


1250. Dauprr (AupHonse). Les Femmes d’Artistes. With etched frontis- 
piece by A. Gill. 12mo, three-quarter Antwerp blue levant morocco, 
gilt sides and back, gilt top, uncut. Paris, no date 

/O With bookplate of Enrico Caruso. 


1251. Danre Atuicurert. Tutte VOpere di Dante Alighieri nuovamente 
rivedute nel testo dal Dr. E. Moore. 3 vols. 24mo, full sapphire- 


[5° blue calf, marbled edges. Oxford, 1897 
Nice Pocket Edition of Dante’s Works in Italian, printed throughout on India 
paper 


With bookplate of Enrico Caruso in each volume. 


Evening Sale 


1252. Dante Aticuiert. La Divina Commedia di Dante Alighieri. Nell’ 
Arte del Cinquecento . . . a Cura di Corrado Ricci. Eatensively 
illustrated with portrait, decorative title-page, numerous full-page 
reproductions, in colors and tinted, each plate hinged to leaf of 

30. light brown drawmg paper, and text illustrations, after original 
works by Michelangelo, Rafael, Zuccari, Vasari, and other great 
artists. Folio, full cardinal levant morocco, broad fillet borders 
in gilt on sides, full gilt panelled back, inside morocco and gilt 
fillet borders, gilt top, uncut, py TRow. [ Milano,| 1908 


1253. Davanzatt Patacr Cottection. Illustrated Catalogue of the Exceed- 

ingly Rare and Valuable Art Treasures and Antiquities formerly 

contained in the famous Davanzati Palace, Florence, Italy .. . 

Oo which will be sold [November 21 to 23, 1916]. Illustrations. Ato, 
c half red morocco, original wrappers bound in. PRriceEp. 

New York: American Art Association, 1916 


Pricep copy of this important catalogue. 


- 1254.( De Czsare (Rarrarte). La Fine diun Regno. Third Edition. 2 vols. 
ta) boards, vellum back, gilt, leather label. 
vs Citta de Castello, 1908-1909 


1255.4 D’Héricautr (Cuarzes). La France Révolutionnaire, 1789-1889. 
With 250 illustrations, including portraits, views, and facsimiles. 
Royal 8vo, three-quarter crimson levant morocco, gilt, full gilt 
panelled back, gilt top, uncut, original wrappers bound in, sy 
CHAMPS. Paris, 1889 


1256. Dictionary. Dizionario di Cultura Universale e della Lingua Parlata. 
[Edited by Prof. Garibaldo Bucco.] Numerous colored plates, 
maps, and text illustrations. 4 vols. imperial 8vo, decorative cloth. 

Wo. Milano: Francesco Vallardi [1907 | 


1257. Dumas (ALExaNnpRE, Fits). La Dame aux Camélias. Préface par M. 
Jules Janin. Portrait of Dumas, 9 illustrations and cul-de-lampe, 
engraved by Los Rios, ALL. ARTIST’S PROOFS BEFORE LETTERS ON 
CHINA PAPER. 8vo, full Antwerp blue French levant morocco, gilt 

ye OO foliate frame and corners on sides, gilt panelled back, doublures 
"of scarlet levant with gilt fillet frame and symbolic corner designs, 

blue border heavily gilt, flowered brocade silk fly-leaves, gilt top, 

uncut, BY DAVID. : Paris, 1872 


Eprrion SpricratE, 500 copies only printed on Holland paper, of which this is, 
No. 106. Fine copy, WITH ALL ‘THE ILLUSTRATIONS IN PROOF STATE BEFORE LETTERS. 
Exrra-ILLustraTep by the insertion of an oRIGINAL WATERCOLOR SKETCH of the 
“Lady of the Camelias,” on half-title, engraved plate of Camille, portrait of 
Dumas by Burney, and portrait of Janin on China paper; and a two-page auTo- 
GRAPH LETTER sIGNED by Dumas. 

With bookplate of Enrico Caruso. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1258. Dumas (ALExanpDRE). Les Trois Mousquetaires. Avec une Lettre 

d’Alexandre Dumas Fils. Hatensively illustrated with woodcuts by 

J. Huyot, from original designs by Maurice Lelotr, with full-page 

duplicates of all illustrations, on China paper, proofs before letters. 

2 vols. imperial 8vo, full claret-colored levant morocco, sides with 

3So large octagonal panel design of dark blue levant, with gilt emble- 

: matic designs in corners, the front cover having in center the 

insignia of the “Musketeers,” traversed by three long swords, the 

whole onlaid in assorted moroccos, the back covers with large center 

foliate design in gilt, brown and_green levants, gilt panelled back, 

the central panel containing three swords in gilt crossed, in upper 

and lower panels the hat of the musketeer, in dark colored moroccos ; 

doublures and end-leaves of dark blue moire silk, the former with 

broad claret-colored morocco and broad gilt bands, foliate and 

emblematic designs in corners; gilt tops, uncut, marbled end-leaves, 

original wrappers bound in, By cH. MEUNIER, 1901. Enclosed in 
chamois-lined marbled board slip-cases. 

Paris: Calmann Lévy, 1894 


Eprrion pe Granp Luxe. Limited to 100 copies printed throughout on China 
paper, with illustrations in duplicate, of which this is, No. 86. 


1259. Encravines, Iranian. Bosst (Brenteno). Raccolta di Disegni Orig- 

inali di Fraco. Mazzola detto il Parmigianino. . . . Parma, 1772; 

Opere varie incise da Benigno Bossi dall’ Anno M.DCC.LV sino 

al? Anno M.DCC.LXXXIX. [Parma, 1789.] Engraved title, 

mA De dedication and frontispiece in each part, half-title in first and por- 
trait in second part, and 114 engraved reproductions of the works 

of “Il Parmiggiano,” Leonardo da Vinci and others by Bossi, 

smaller engravings several on one leaf. 2 parts in one vol. folio, 

half vellum, back torn. Parma, 1772-[1789 | 

Interiorly a FINE, CLEAN COPY, WITH BRILLIANT IMPRESSIONS OF THE PLATES. ‘The 


first part consists entirely of reproductions of the work of Francesco Mazzuoli, 
called “Il Parmiggiano,” in the Collection of Conte Alessandro Sanvitale. 


1260. Ferrario (Carno). Bellezze Italiche. 50 full-page plates 1x coxors. 
Folio, loose sheets laid in board portfolio, linen back, decorated 
3 front cover. Napoli, recent 


Text in Italian, French, German and English. 


1261. Fravperr (Gustave). Madame Bovary. Préface par Léon Hennique. 
Title in red and black, with vignette, engraved portrait of the 

ce author and full-page plates by Alfred de Richemont, engraved by 
[ Continued 


Evening Sale 


[ No. 1261—Continued | 


C. Chessa. 4to, full sapphire blue French levant morocco, with 
elaborate gilt filigree and onlaid lighter blue morocco corners and 
frame of gilt fillets on sides, gilt filigree back, broad inside borders 
of morocco, gilt, doublures and fly-leaves of figured silk, gilt edges 
on the rough, original wrappers bound in, sy payin. In felt-lined 
board slip-case. Paris, 1905 

Limitep tssuE; 100 copies only printed on “grand vélin de’Arches” paper, num- 


bered 100 to 200, of which this is, No. 182, initialed by the publisher. Bound in 
at the front and back are specially illustrated specimen pages of this work. 


1262. FrorentTine Garirery. Galerie de Florence Gravee sur Cuivre, et 


SS 


— 


Publiee par une Societe d’Amateurs, sous la Direction de Bartolini, 
Bezzuoli et Jesi. Avec un Texte Francais par Alexandre Dumas. 
Dediee a Sa Majeste Nicolas Premier Empereur et Autocrate de 
Toutes les Russies. EHwatensively illustrated with line and outline 
reproductions of the works of art by great masters contained in 
the collection. 6 vols. large folio, cloth, leather backs, entirely 
uncut. Florence, 1844 


A very important art publication which is sefdom offered at public sale. Fine 
cory. 


1268. France (Anatorr). Sainte Euphrosine, Les actes de la vie Sainte 


— 


[Os 


Euphrosine d’Alexandre, en religion fréere Smaragde ... With 
vignettes engraved by E. Pennequin, with two additional series of 
the plates BOTH PROOFS BEFORE LETTERS, one in early state and one 
in later state, and decorative woodcut borders by L. Marie, with 
an additional set of the borders, PROOFS BEFORE LETTERS, all after 
designs by L. E. Fournier. Royal 4to, bound in brocaded cloth of 
gold, doublures and fly-leaves of gray brocaded satin, gilt top, 
uncut, with original covers bound in, By THE CLUB BINDERY. 
Enclosed in green cloth case, lined with brocaded pink satin. 
Paris, 1906 
Forty copies printed on Japan paper, with the vignettes in two states, of which 


this is, No. 5. 
The Robert Hoe copy, with his bookplate, and that of Enrico Caruso. 


1264. Frencu Art. Documents sur l’Art Décoratif Frangais du [Xme au 


3S, 


XIXme Siécle. Publiés par Louis Lumet (et) Yvanhoé Rambosson. 
200 photogravure plates, many containing several examples. With 
leaf of Descriptive Letterpress accompanying each plate. Plates 
and leaves loose, enclosed in 8 board portfolios, numbered 1 to 8. 

} Paris, undated (recent) 


Edition limited to 500 copies, numbered and signed. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1265. Gautier (THtorHite). Mademoiselle de Maupin—Double Amour. 
Réimpression Textuelle de |’Edition originale; Notice Bibliograph- 
ique par M. Charles de Lovenjoul. Portrait of Gautier, vignette 
portraits on titles, and full-page illustrations, all in two states, 
one series being PROOFS BEFORE LETTERS, with “Remarque” on por- 
trait of Gautier. 2 vols. royal 8vo, full crimson French levant 

/ rae morocco, sides with frame of gilt fillets with sprays of roses and 
sword handle at corners, back panels with gilt leaf sprays, doublures 
of olive levant with gilt fillet frames with rose sprays at corners, 
figure of the model onlaid in center of front doublure of Vol. I, fly- 
leaves of olive silk, gilt edges on the rough, original wrappers of 
each volume bound in, BY MARIUS MICHEL. Paris, 1883 

Limited issur, only 150 copies printed on Japan paper with plates in two 
states, of which this is, No. 65. Braurirutty ExTrRA-ILLUsTRATED by the insertion 
of four oRIGINAL WATERCOLOR sKETCHES, those in Vol. I being of “Mademoiselle 
de Maupin,” and a scene from the story; Vol. II, of “Albert,” and the scene of 
the “Model”; also, bound in at end of Vol II is a series of additional illustrations, 
“Essais pour Villustrations de Mademoiselle de Maupin,” consisting of portraits 
of “Albert” and “Mademoiselle de Maupin,” and two scenes, printed on Japan 
paper, PROOFS BEFORE AND AFTER the artist’s signature, published Paris, 1885, with 


original front wrapper. 
With bookplate of Enrico Caruso in each volume. 


1266. Grannone (Pierro). Storia Civile del Regno di Napoli. Vols. 2 to 5, 
inclusive (lacks Vol. 1). Frontispieces. 4 vols. 8vo, marbled board 
ip sides, roan backs. Milano, 1845-1847 


1267. Goncourt (EpmMonp ET JuLEs DE). Madame de Pompadour. News 
Edition, Revised and Enlarged with letters and unpublished docu- 
ments. Illustrated with 55 copper-cut engravings by Dujardin, 

and two plates in color by Quinsac. 4to, full crimson French levant 
LPO : morocco, covers with all-over design of onlaid white fleur-de-lis 
traced in gilt, back with fleur-de-lis in each panel, elaborate inside 

dentelle borders, crimson watered silk doublures and end-leaves, gilt 

top, uncut, original wrappers and backbone bound in, By BERNAsS- 

cont. Enclosed in board slip-case. Paris, 1888 


Limited issue printed throughout on Japanese vellum, of which this is, No. 89. 
With bookplate of Enrico Caruso. 


1268. Goya y Lucientrs (Francisco). [The Bull Fight.] 33 aquatint 
plates by Don Francisco de Goya y Lucientes. Oblong 4to, half 


red morocco, gilt edges, binding rubbed. [ Madrid, 1820]~ 
Bl O e Consists of the 38 numbered aquatints and leaf of contents, without title-page 
or imprint. The plate paper is watermarked “Serra,” the Contents leaf, “Barto- 


lomie Mongelos.” First issuep in Madrid in 1820, with the plate paper water- 
marked as the present copy, and re-issued in 1855. Fine rmwpressions WITH EX- 
CEPTIONALLY WIDE MARGINS. 


Evening Sale 


1269. Harvarp Apvocatre. Stories from the Harvard Advocate, being a 
Collection. . . . from 1866 to present day. 8vo, cloth, uncut and 


a unopened. Cambridge, Mass., 1896 
- This work includes stories by Theodore Roosevelt, Edward Hale, and many 
others. 


Presentation Copy, inscribed in the autograph of the donor, “Comm. Enrico 
Caruso, with thanks for his drawing my picture on the ‘Canopic’ W. G. Peck- 
ham, First Editor ‘Collegian Advocate.” With book plate of Mr. Peckham. 


1270. Hermant (Apert). Le Cavalier Miserey. Frontispiece portrait by 
J. E. Blanche, and 250 illustrations by Louis Vallet. Royal 8vo, 


So three-quarter crimson levant morocco, gilt, gilt top, uncut, orig- 
° inal wrappers bound in. Paris, 1888 


Limited Edition, 50 copies printed on Holland paper, of which this is, No. 31. 


1271. Huco (Vicror). Bug-Jargal; Le Dernier Jour d’un Condamné; Claude 
Gueux. With 4 full-page plates in two states, one proof before 
letters, and numerous engraved head-pieces. 3 vols. in 1. Ato, 

— half olive green morocco, gilt back, leather label, gilt top, uncut, 

rod original wrappers bound in. Paris, 1890 


Enirion Nationate, limited to 1000 copies, of which 50 are on papier du Chine 
(numbered from 251 to 300), this being No. 255. 


1272. Irvine (Wasuincron). The Life and Voyages of Christopher Colum- 
bus, and the Voyages and Discoveries of the Companions of Colum- 

Co bus. Author’s Revised Edition. Colored frontispieces, numerous 
full-page and teat illustrations, and titles in red and black. 3 vols. 

: imperial 8vo, half roan, gilt sides and back, gilt tops, uncut and 
unopened. New York [1892] 


IsaBetLA Eprrion, limited to 1100 copies. 


1273. Ivara (L’). Part I. Il Suolo e le Genti. Part IJ. Regno d'Italia. 
With numerous illustrations and colored maps. Two parts in 3 
“ : vols. imperial 8vo, white decorated cloth. Milano, no date 


1274. Iratan Stace. Les Masques et les Personnages de la Comédie Italienne. 
Expliqués par Gérard d’Houville, et interprétés par Brunelleschi. 
12 finely colored plates engraved by H. Reidel. Oblong folio, wrap- 
pers, uncut. Enclosed in marbled board slip-case. 
iS Paris: Aux Bureaux du Journal des Dames et des Modes, 1914 


Edition limited to 400 copies, printed on “grand vélin d’Arches enti¢rement 
a la forme,” of which this is, No. 45. 

Presentation copy to Enrico Caruso, with the following autograph inscrip- 
tion on half-title—“A Enrico Caruso Gloria nostra Brunelleschi.” 

Among the characters illustrated are those of,—Arlequin; le Docteur Ballan- 
zone; Brighella; Coralline; Florindo; Giacometta; Mezzetin et Colombine; Pan- 
talon; Rosaura; Scaramouche; Tartaglia; et Trivellino. 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1275{ Jacor (Pavxt L.). Contes du Bibliophile Jacob a ses Petits-Enfants 
\ sur L’Histoire de France. With lithographic frontispiece im colors, 


by Emile Wattier; and 11 illustrations after designs by H. Philip- 
/o / poteaux. Royal 8vo, half red levant morocco, gilt top, uncut. 


} Paris, 1889 
/ With bookplate of Emanuel Levy. 


| 
1276. Jonas (Lucien). ‘‘The Soul of France.” 12 photogravures depicting 
phases of the War. Folio, loose sheets, enclosed in board portfolio. 

No place, no date 


Twelve beautiful plates depicting phases of the World War as experienced by the 
French People and as admirably expressed by one of the greatest artists of the 
period. 


1277. JosEPHINE, Empress or THE FrencH. Masson (Frtpéric). Joséphine 
de Beauharnais, 1763-1796. Portrait. 8vo, full green levant 
morocco, arms of Napoleon in gilt on sides, inside gilt borders, gilt 
top, uncut, original front wrapper bound in, By DAviD. 

Paris, 1899 


4 Co 
Ve 4 Firsr Eprrion. Limited Issue on Holland paper reserved for the author. 
Extra-rLLustratep by the insertion of numerous engraved portraits and views, 
including a beautiful colored portrait of Josephine by Allais. 
Presentation Copy from the author to Philippe Gille, with signed autograph 
inscription and an autograph letter inserted, signed by Masson, October 28, 1898, 
to M. Gille regarding the book, with addressed envelope. 
With bookplate of Enrico Caruso. 


1278. JosEPHINE, Empress oF THE FrENcH. Masson (Fretperic). Joséphine 
Impératrice et Reine. With frontispiece portrait of Josephine in 
colors, 33 full-page plates and 8 vignettes, comprising portraits 
and views, each in two states, the duplicate set of vignettes beng 

— before letters. Royal 4to, full green French levant morocco, arms 
/?- te of Napoleon in gilt in center of sides, inside morocco borders gilt 
tooled, doublures and fly-leaves of green watered silk, gilt top, 
uncut, original wrappers bound in, By TAFFIN. 
Paris: Goupil et Cie, 1899 


Larce paper, 150 copies printed on Imperial Japanese vellum paper, of which 
this is, No. XXXV. With bookplate of Enrico Caruso. 


1279. JosEPHINE, EMprREss OF THE FrENcH. Masson (Frtptric). Joséphine 
répudiée, 1809-1814. Portrait. 8vo, full green levant morocco, 
arms of Napoleon in gilt on sides, inside gilt borders, gilt top, uncut, 

2 — with the original wrappers bound in, sy pDavip. Paris, 1901 


§ : First Eprrion. Limited Issue on Holland paper for the author. Exrra- 
ILLustRATED by the insertion of a number of fine engraved portraits and other 
plates, including two colored portraits of Josephine. 

Presentation Copy from the author to Philippe Gille, with signed autograph 
inscription. 
With bookplate of Enrico Caruso. 


Evening Sale 


1280. [La Cros (P. A. F. CHoprertos pr).|] Les Liaisons Dangereuses. 
Engraved ulustrations after Deveria. 4 vols. 16mo, full original 
i. mottled calf, gilt backs, leather labels, gilt edges. Paris, 1823 


Each volume with bookplate of Enrico Caruso. 


1281. Lacrorx (M. Paut). Le Moyen Age et la Renaissance, Histoire et 
Description des Moeurs et Usages, du Commerce et de L’Industrie, 
. en Europe. Direction Littéraire de Paul Lacroix. Direction 
Artistique de Ferdinand Seré. With numerous full-page chromo- 
lithographic plates and full-page and text engravings in black and 
white by M. A. Rivaud. 5 vols. 4to, full dark blue morocco, sides 
with gilt fillet and ornamental corners, gilt backs, inside dentelle 
borders, gilt edges. Paris, 1848-1851 
Finst Enrrion oF THIS RARE AND CURIOUS WorK. Frne cory, with brilliant im- 
pressions of the plates. 


With bookplate of La Pinée; also with bookplate of Enrico Caruso in each 
volume, 


1282. Leecn (Jonn) Intusrrations. Pictures of Life and Character. With 
almost 200 humorous illustrations, by John Leech. Oblong 12mo, 

So half crimson French levant morocco, gilt edges. 
ue New York, undated 


1283. Lempercer (Ernst). Meisterminiaturen aus Fiinf Jahrhunderten. 
Anhang: Kiinstler-Lexikon der Miniaturmalerei mit den Biograph- 
ischen Daten von Mehr als 6000 Miniaturisten. With 75 colored 
reproductions of miniatures, after Strasser, Spiegelberg, Politzer, 
Metaxa, Ernst, and others, all tipped to mount and hinged to linen 
guard. 4to, light green cloth, front with center ornament of gilt 
and blue morocco, surrounded by gilt border, gilt back, blue 
morocco label, gilt top. Stuttgart, 1911 


oo 


First Eprrion, with the plates charmingly colored. 


1284. Le Sacre (Atary Rent). Histoire de Gil Blas de Santillane, précédée 
dune Preface par H. Reynald. Portrait and plates etched by Los 

Rios, proofs in two states BEFORE AND AFTER LETTERS. 4 vols, 8vo, 

Gc. full crimson French levant morocco, gilt back and inside borders, 
/ gilt edges, text uncut at fore and lower edges, original wrappers 
bound in each volume, By CHAMBOLLE-DURU. Paris, 1879 

Lance paper, 20 copies only printed on China paper with proofs in two states, 

of which this is, No. 14. Exrra-1rtusrratep by the insertion of a number of ad- 


ditional illustrations by Los Rios and a series of the illustrations by Smirke, 
engraved by Romney and others, from the London Edition of “Gil Blas,” 1822. 


Kindly read the Conditions under which every item 1s offered 
and sold. They are printed in the forepart of the Catalogue. 


1285. Loncrettow (Henry Wapswortn). Evangéline. Traduction en vers 


fo. 


francaise par A. Bollaert. Précédée d’une Préface de Honorable 
Pascal Poirier, et de Lettres de MM. Auguste George et Paul Harel. 
8vo, limp unfinished calf. New York, 1911 


Presentation copy to Caruso from the Translator with the following auto- 
graph inscription—‘du roi des tenors Comm. Enrico Caruso cette modeste 
traduction du chef-d’wewore du prince des poétes Américains est affectueusement 
dediée—A. Bollaert., New York, 3/1/12.” 


1286. Louis XIV. Dumas (AtEexanpre, PERE). Louis XIV et son Siecle. 


Le 


Tome premier. Plates. Royal 8vo, full cardinal levant morocco, 

arms of Louis XIV stamped in gilt on sides, inside gilt fillet borders, 
gilt top, uncut, original wrappers bound in, By POPELIN. 

Paris, 1844 

First Eprrion, Vol. I only. Exrra-rrtustratep by the insertion of 24 fine 


engraved portraits of Louis XIV, Cardinal Richelieu, Anne d’Austria, Mazarin 
and many other notable figures of the Court. 


1287. Masson (Frepiric). L’Impératrice Marie-Louise. With frontispiece 


Ves. 


im colors after a miniature by Isabey, and 51 other dalustrations 
including portraits, views, facsimiles, etc. Imperial 4to, full green 
levant morocco, sides and panelled back with gilt fillet, inside bor- 
ders of morocco with gilt fillet and ornamental corners, gilt top, 
uncut. Paris: Goupil & Cie, 1902 

Eprrion oriernate, limited to 1000 copies on papier a la main des Manufac- 


tures Blanchet Freres & Kléber, of which this is, No. 768. 
With bookplate of Enrico Caruso. 


1288. Masson (Fretpeéric). Napoléon et les Femmes. With numerous 


ae 


engraved portraits, some in colors, and facsimiles; head-and tail- 
pieces engraved in bronze-gilt. Royal 8vo, green French levant 
morocco, with Napoleon’s arms in gilt on sides, doublures of crim- 
son morocco with gilt fillet and emblematic figures, green watered 
silk end-leaves, gilt top, uncut, original wrappers bound in, sy 
pomery. Enclosed in kid-lined board slip-case. 

Paris: Goupil & Cie, 1906 


Epririon ILLustrFE, printed on “Manufactures d’Arches” paper, limited to 300 
copies, of which this is, No. 097. 

The portraits are reproductions from miniatures and portraits by famous 
artists and include those of Napoleon in profile, by Lemoine, in colors, Empress 
Josephine, by Gérard, Eléonore Laplaigne, by Augustin, Marie Valouska, by 
Lefevre, and many others. 

Contains book plate of Enrico Caruso. 


1289. Masson (Friprric). Napoleon a Sainte Héléne. Beautifully illus- 


3S 


trated with vignettes and numerous full-page photogracures, some 
[ Continued 


Evening Sale 


[ No. 1289—Continued | 
in colors, including portraits, drawn from the works of noted artists, 
views, scenes, and facsimiles. 2 vols. imperial 8vo, full green French 
levant morocco, sides with elaborately gilt tooled borders, with 
Napoleon’s arms in gilt in center, gilt panelled backs with emble- 
matic tooling, gilt inside morocco borders with doublures of red 
watered silk, gilt tops, uncut, original covers bound in, py DURVAND. 
In green morocco solander case. Paris: Goupil & Cie. 1912 


PRINTED THROUGHOUT ON JAPANESE VELLUM PAPER, and limited to 50 copies. 


1290. Maupassant (Guy DE). Boule de Suif. Illustrations by F. Thévenot 
engraved on wood by A. Romagnol, and facsimile; with plates im 
three states, comprising the series printed with the text, and two 
SERIES OF PROOFS BEFORE LETTERS ON CHINA PAPER, ONE OF WHICH 

38. Is “REMARQUE” PROOF; also PROOF IN coLors of the original cover 
illustration. Royal 8vo, three-quarter crimson levant morocco, gilt 
and mosaic back panels, gilt top, uncut, original wrappers and back- 
bone bound in, BY BRETAULT. Paris, 1897 

Cottection pes Drx, only 300 copies printed, 50 of which (numbered 91 to 


140) are on vellum paper with double set of extra plates, of which this is, No. 91. 
From the Robert Hoe collection, with bookplate. 


1291. Maupassant (Guy pr). Bel-Ami. 8vo, three-quarter brown morocco, 
gilt back, leather labels, gilt top, uncut, by canapE. 
Paris, 1910 
AS. Edition on Van Gelder paper. With inscription, “Propriete personnelle of 
2 


Enrico Caruso, New York, 1918,” in the autograph of Caruso on fly-leaf and 
across first page of text. 


1292. Merimér (Prosper). Carmen. Translated by A. E. Johnson. Deco- 
rative title-page, and numerous colored plates, and text illustrations 
in black and white, all by René Bull. 4to, cloth, gilt, gilt top. 

JOR New York, 1915 


1293. Mexico. Verpra (Luis Perez). Compendio de la Historia de México. 
Quinta Edicién Tlustrada, Corregida y Aumentada. Illustrations. — 

is Svo, cloth. Paris, 1911 
Presentation copy to Enrico Caruso, with the following autograph inscrip- 


tion,—“Recuerdo afectuoso ai Seftor Comendador Don Enrique Caruso de Nacha 
Villasmor. Noviembre 18 de 1919. Méwxico.” 


1294. Mitrrary Costume Puares 1x Cotors. Turxiso. The Military Cos- 
tume of Turkey. Illustrated with a series of 30 full-page aquatints 
and illustrated title by J. H. Clark, cotorrp By HAND. Folio, full 

JO. [ Continued 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


[ No. 1294—Continued | 
contemporary green straight-grain morocco, gilt sides and hack, 
gilt edges. London: Thomas McLean, 1818 


First Eprrion. Finn, FRESH COPY, WITH BRILLIANT IMPRESSIONS OF THE BEAU- 
TIFUL AQUATINTS. 


1295. Mituer (Frank E.). Observations in Vocal Art Science. Portrait on 
Japan paper. 8vo, decorative wrappers, uncut. 
London [1911] 
GFe Privately Printed for Members by the University Alliance. 


Presentation copy to Enrico Caruso, with autograph inscription as follows,— 
“For Signor Enrico Caruso from the Author. April 12th, 1911.” 


1296. Mitirr (Frank E.). Vocal Art-Science and its Application. With a 
Foreword by Gustav Kobbé. Portrait plates. 8vo, original cloth. 

New York [1917] 

1G First Eprrtion. Presentation copy to Enrico Caruso, with signed autograph 

a) 6 inscription, beginning,—‘On his birthday, Feb. 25th, 1917, for Enrico Caruso: 


The King of Tenors, who holds his audience enthralled with the golden opulence 
Of hase VOtCe: tee 


1297. Mourre (J. B. Poquetmn pr). Théatre choisi de Moliére avec une 
Notice par M. Poujoulat. With engraved frontispiece portrait and 
49 wignette plates by Foulquier. 2 vols. royal 8vo, full claret 
cae French levant morocco, with gilt fillet borders and corner ornaments 
on sides, full gilt paneled backs, inside fillet borders, gilt edges, 
original wrappers and backbone bound in each volume, py cANAPE. 
Each volume in chamois-lined board slip-case. Tours, 1878-1879 


Limirep Enirion, 10 copies only printed on chamois paper, of which this is, 
No. 4. 


1298. Monrrsaureu (C.) Le Temple de Gnide, suivi d’Arsace et Isménie. 

New Edition. With 14 full-page engravings and a vignette after 

Eisen and Le Barbier by Le Mire. Preface by O. Uzanne. Imperial 

Vez So 8vo, half red levant morocco, gilt back and top, uncut, By w. 

/ ROACH. Rouen, 1881 
Larce paper, limited issue on Van Gelder paper, of which this is, No. 259. 


With inscription, “Proprieté personnelle d’ Enrico Caruso, New York, 1918,” 
in autograph of Caruso, also with bookplate of Enrico Caruso. 


1299. Mircrer (Henri). Scenes de la Bohéme, publié sur l’Edition originale 
(Paris, 1851). With frontispiece portrait and 12 engraved plates 

S, by Adolphe Bichard. 8vo, full brown French levant morocco, front 
/ : cover with sprays of roses and lilies onlaid in tans and green 
[ Continued 


Evening Sale 


[ No. 1299—Continued | 


morocco within gilt fillet frame, back cover and backbone with 
similar lily sprays, all onlaid in colors; doublures of green levant 
morocco, with frame of leaves in lighter green and gilt within fillet 
borders, fly-leaves of green brocaded silk, gilt edges on the rough, 
original wrappers bound in, By RENE KIEFFER. 
Paris: Imprimé pour les Amis des Livres, 1879 
Limirep EpIt1on; 118 copies only printed, of which this, No. 85, for M. Morizet. 
UNIQUE COPY, EXTRA-ILLUSTRATED by the insertion of an additional set of en- 
graved illustrations by Ch. Courtry in Two sratEs, BoTrH PROOFS, One series auto- 
graphed by the artist, and an autograph letter signed by Henri Miirger, the 


author, 2pp. Paris, January 25, 1855. 
With bookplate of Enrico Caruso. 


1300. Mtrcer (Hewnrr). Scénes de la Vie de Boheme. Publié sur |’Edition 


24.8° 


Originale (Paris, 1851). Illustrated with etched frontispiece and 
12 full-page etchings by Adolphe Bichard, all in two states, one a 
set of Proofs before Letters on Japan paper. 8vo, full olive green 
French levant, front cover with all-over landscape design onlaid in 
assorted colors of dark tones, continued across backbone and on 
portion of back cover; doublures of brown levant with narrow outer 
border of olive green morocco and gilt line, end-leaves of olive 
green faille silk, gilt top, uncut, original~wrappers bound in, By 
TALIIBART. Enclosed in green marbled chamois-lined slip-case. 


Paris, 1879 


Edition limited to 118 copies, with plates in two states, of which this is, No. 21. 
Printed for M. Biays, Subscriber. 

Exrra-IrLustratep by the insertion of 12 finely colored plates, engraved by E. 
Decisy after C. Leandre. Fre copy. 

With bookplate of Enrico Caruso. 


1301. Music. Hussarp (W. L.—KEditor-in-chief). The American History 


és. 


and Encyclopedia of Music. Portraits and other ilustrations, 
frontispieces in color. 12 vols. royal 8vo, three-quarter maroon 
levant morocco, gilt backs, gilt tops. New York [1908-1910 ] 


Set in perfectly fresh condition: comprising,— 
American Music; Theory; Instruments; Musical Biographies. 2 vols.; 
Foreign Music; Operas. 2 vols.; Oratorio and Masses; 
Dictionary; Essentials and Index. 2 vols. 


1302. Napotron I. Trrnisten-D’Haupricourt (CHartes). Fastes de la 


iO: 


Nation Francaise et des Puissances alliées, ou Tableaux pittoresques 
gravés par d’habiles Artistes, Accompagnés d’un Texte explicatif. 
. . . With 156 copperplate engravings of the battles of Napoleon 
by Martinet, Delvaux, Dupreel and others, after La Fitte, Swebach 

[ Continued 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


[No. 1802—Continued | 
and others; French text engraved on each plate. 2 vols. 4to, full 
contemporary red straight-grain morocco, with arms of Napoleon 
in gilt on sides within blind and gilt tooled borders, backs tooled 
with the Napoleonic eagle, gilt edges, bindings rubbed. 
Paris: Imprimerie de Gillé, fils, 1807 
First Eprrion. Very rare Napoleonic ITEM IN FINE conpiTIon. English 
translation to each engraving, printed on a separate leaf. 
With autograph signature of the author, D’Haudricourt, on the English half- 


title, and an autcgraph note regarding these volumes by Jno. Albinson, a former 
owner of the volumes. 


1303. Narotron I. CxHampure (Avcuste pve). Napoléon et ses Contem- 
porains. Illustrated with 2 engraved portraits of Napoleon, and 
45 plates by Deveria, Johannot, Charlet and others on India paper. 
2 parts in one vol. royal 4to, full green French levant morocco, 
with arms of Napoleon in gilt on sides within frames of gilt fillets, 
— symbolic Napoleonic designs at corners and in back panels, doub- 
6 . lures of white kid with a semis of violets onlaid in purple morocco 
and gilt, with broad border of violet levant covered with a semis 
of bees, Napoleonic emblems at corners, brocaded silk fly-leaves, 
gilt top, uncut, By r1rTER. Enclosed in board slip-case. 
Paris, 1824 
First Eprrion. Larce paper, superb copy of this very scarce work, in an ar- 
tistic modern French binding. Exrra-11tustrarepn by the insertion of 70 fine 


portraits and other engravings of great variety and beauty. 
With bookplate of Enrico Caruso. 


1304. Napotron I. Las Cases (EmMManuet Avcustin D. M. J., Marauis). 
Mémorial de Sainte-Héléne, suivi de Napoléon dans ’Exil, par MM. 

O’Meara et Antomarchi . . . Illustrations. 2 vols, royal 8vo, full 

olive levant morocco, with four inlaid bronze medallions, 134 inches 

in diameter, reproducing various Napoleonic medals, each different, 

7 / 0. on each side; the remainder of sides elaborately gilt tooled, backs 
and inside morocco borders gilt tooled in emblematic designs, doub- 

lures and fly-leaves of green watered silk, gilt edges, original wrap- 

pers bound in each volume, py RENE KIEFFER. Each volume in 

felt-lined board slip-cases. Paris: Ebourdin, 1842 


First Eprrion. Exrra-1ttusrratep with a large number of Napoleonic plates, 


many on India paper, comprising portraits, battle scenes and many other views. 
With bookplate of Enrico Caruso. 


1305. Naronron I. Masson (Freperric). Napoléon chez lui: la Journée de 
’Empereur aux Tuileries. Illustrations by F. de Myrbach. 8vo, 

Se full green levant morocco, arms of Napoleon in gilt on sides, inside 
; [ Continued 


Hvening Sale 


[No. 13805—Continued | 


gilt borders, gilt top, uncut, with original wrappers bound in, By 
DAVID. Paris [1894] 


First Eprrion. Limited Issue on Holland paper, unnumbered copy auto- 
graphed by the author, Exrra-tinustratep by the insertion of a number of fine 
portraits of Napoleon and many of his generals, engraved battle scenes and 
other plates. 

Presentation Copy from the author to Philippe Gille, with signed autograph 
inscription. 

With bookplate of Enrico Caruso. 


1306. Napotron I. Masson (Fritpéric). Napoléon ect les Femmes; l’Amour. 


Portrait. 8vo, full green levant morocco, arms of Napoleon in gilt 
on sides, inside gilt borders, gilt top, uncut, original front wrapper 
bound in, By DAVID. Paris, 1894 


First Eprrion. Limrrep tssur, ten copies only printed for the author on Hol- 
land paper, of which this is, No. 3. Exrra-riiusrratep by the insertion of num- 
erous portraits including,—Josephine (2), Marie Louise (2), Marie Louise and 
the King of Rome, Caroline Murat, ari in cotors; and other fine engraved 
portraits, a number of engraved views, and orIGINAL AUTOGRAPH LETTERS SIGNED 
by,—the Duchesse d’Abrantés, 3pp. 8vo, no date, a personal letter; and Mademoi- 
selle Mars, lp. 8vo, no date. 

Presentation copy from the author to Philippe Gille, with signed autograph 
inscription. 

With bookplate of Enrico Caruso. 


1307. Narorzon I. Masson (Fritpfric). Cavaliers de Napoléon. Exten- 


stuely illustrated with full-page reproductions from original paint- 
ings and watercolors by Edouard Detaille, vignettes at head and 
end of chapters, all illustrations in three states, one set in colors, 
another uncolored, both on Whatman paper, and a third set on 
Japan paper, all plates being Proofs before Letters. Imperial 
4to, full green levant morocco, sides with triple gilt fillets enclosing 
border of geometrical design between triple gilt fillets, large corner 
design of scrolls, dots, and stars, in center a group of flags from 
the various Napoleonic regiments held together by laurel wreath; 
full gilt panelled back; doublures of crimson levant with broad 
gilt borders and fan-shaped corner designs, surrounded with narrow 
green levant and gilt line border; fly-leaves of crimson faille silk, 
Morris end-papers, gilt top, uncut, original Japan paper wrappers 
bound in, py a. cuzin. Enclosed in marbled board slip-case, with 
inner kid-lined protective wrapper of green buckram and morocco 


back. Paris: Boussod, Valadon et Cie [1895 | 


Edition limited to 25 copies on Whatman paper, with plates in duplicate, of 
which this is, No. XIII. Wurre origiInaAL WATERCOLOR DRAWING ON HALF-TITLE, 
By Epouvarp DeralLiE, WITH THE ARTIST'S AUTOGRAPH SIGNATURE, 

With bookplate of Enrico Caruso. 


Kindly read the Conditions under which every item is offered 


and sold. 


They are printed in the forepart of the Catalogue. 


1808. Napotzon I. Masson (Fr&tpéric). Napoléon a Sainte Héléne. Beau- 


SH. 


tifully dlustrated with vignettes and numerous full-page photo- 
gracures, some tn colors, including portraits, drawn from the works 
of noted artists, views, scenes, and facsimiles, some plates on India 
paper. 2 vols. imperial 8vo, full green straight-grain morocco, 
sides with elaborately gilt tooled borders, with Napoleon’s arms in 
gilt in center, gilt panelled backs with emblematic tooling, gilt 
inside morocco borders with doublures of red watered-silk, gilt tops, 
uncut, original covers bound in, py DURVAND. 


Paris: Goupil & Cie. 1912 


Limited to 800 numbered copies on “papier vergé,” this copy being No. 18. 
With bookplate of Enrico Caruso in each volume. 


1809. Napotron I. (Steur (Comre Putuprr pe). 1812-1912. Napoléon; 


je 


Texte tiré de la Campagne de Russie 1812. With two portraits in 
black-and-white and 54 plates in colors, including portraits after 
paintings by Charlet, Doou, Gérard, Kotzebou, Tchoukine and 
others. Imperial 4to, half green morocco, gilt back, gilt top, 
uncut, original wrappers bound in. Paris, no date 


The paintings reproduced in this work were for the most part in the collection 
of the Winter Palace at St. Petersburg, and are here reproduced for the first 
time. 


1310. Neapourran Porrry. Delle Rime Scelte di varj Illustri Poeti Napole- 


— 


one 


tani. Copperplate title vignette, head-pieces and ornamental ini- 
tials. 2 vols, small 8vo, half morocco, rubbed. Firenze, 1723 


Exceedingly rare collection of poems by Neapolitan writers. 


1311. Operas. Bur. (James W.—Editor). The Great Operas; the Roman- 


/ Y. Lo 


tic Legends upon which the Masters of Song have founded their 

Famous Lyrical Compositions. Introduced by Guiseppe Verdi. 

Full-page photogravure plates and numerous illustrations including 

portraits in the text. 5 vols. folio, red holland, with centre orna- 
ment of white vellum and gilt, and broad gilt border on front. 

London, Paris, ete., [1899] 

Among the opera stories given, are-—La Traviata, Tannhauser, Mignon, Faust, 


“The Ring,’ Manon, Aida, Huguenots, The Jewess, La Boheme, Tristan, The 
Prophet and 38 others, with a sketch of the composer of each work. 


1312. Operas. Puccint (Gracomo). The Girl of the Golden West. An 


hi) oe 


Opera in Three Acts. Complete Opera Arranged by Carlo Cari- 
gnani. Vocal Score with Piano Accompaniment, 1911; Opera Mac- 
AZINE (THE). Devoted to the Higher Forms of Musical Art. Jan- 
uary, to December, 1914. Extensively illustrated. 1914. 'To- 
gether, 2 vols. 4to, limp morocco, gilt top, name of Enrico Caruso 
in gilt letters on front covers. New York, 1911-1914 


Evening Sale 


1313. Ornament. Jones (Owen). The Grammar of Ornament. E«aten- 
stoely illustrated with full-page plates in colors containing many 
examples from various styles of ornament, and text illustrations. 
Royal 4to, half leather, binding rubbed, name in ink “Ad. 

y y) So Emmant” across title-page, binding slightly shaken, and some plates 
: missing. London, 1868 
PRESENTATION copy to Enrico Caruso with following autograph inscription on 

Preface leaf,—“To my friend Signore Caruso may he spend many hours reading. 


New York, Nov. 15, 1916. Hm. Gattle.’ With humorous portrait sketch on 
opposite leaf in pen-and-ink. 


1314. Picrurresaur Canirornta. Muir (Jonn—Editor). Picturesque Cali- 
fornia and the Region West of the Rocky Mountains, from Alaska 

Ge to Mexico. Containing over 600 etchings, photogravures, wood 
VY engravings, etc. by eminent American artists. 2 vols. imperial 4to, 
i half leather, gilt, gilt edges, bindings rubbed. New York, 1888 


1315. Por (Enear Anran). Tales of Edgar Allan Poe. With 23 illustrations 
from original designs by Frederick S. Coburn. 8vo, crimson limp 

ae morocco, gilt, gilt top, uncut. New York [1902 | 
Inscribed, “To Commendatore Enrico Caruso from Park Benjamin. New York, 


25 Feb. 1918,” followed by a four-line quotation from Dante’s Inferno, in Italian, 
in the autograph of the donor, father-in-law of Mr. Caruso. 


1316. PocAny (Witty) Innusrrations. Rorieston (T. W.). Tannhauser, 

a Dramatic Poem by Richard Wagner, freely translated in Poetic 

Narrative Form. Printed on gray paper. With full-page colored 

lithographs, other full-page and smaller illustrations, ornamental 

initials, borders and tail-pieces, nm black-and-white, sepia and colors, 

oO by Willy Pogany. Imperial 8vo, full old rose unfinished calf, gilt 

Ws 4 design and lettered title on front cover and backbone, illustrated 
end-papers, uncut. 

New York: Thomas Y. Crowell & Co. [Printed London, 1911] 


BEAUTIFULLY ILLUsTRATED. ‘The letterpress and line illustrations lithographed 
by Vincent Brooks, Day and Sons, Ltd., London; the plates printed in four 
colors by Henry Stone and Son, Ltd., Banbury. 


1817. Pocany (Witty) Innusrrations. Rotursron (T. W.). Parsifal or 

, the Legend of the Holy Grail retold from Antient Sources, with 
Acknowledgment to the “Parsifal” of Richard Wagner. Printed 

on light gray paper. With full-page colored lithographs, other 

if Oo, full-page and smaller illustrations, ornamental initials, borders and 
tail-pieces, in black-and-white, sepia and colors, by Willy Pogany. 

[ Continued 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


[ No. 1817—Continued | 
Imperial 8vo, full purple unfinished calf, gilt symbolic design and 
title on front cover and backbone, illustrated end-papers, uncut. 
New York: Thomas Y. Crowell & Co. [Printed London, 1912 | 
BEAUTIFULLY ILLUSTRATED by Willy Pogany, with elaborate borders on almost 
every page, as well as a large number of charming illustrations. The letter- 


press and line illustrations lithographed by Vincent Brooks, Day and Sons, Ltd., 
London; the plates printed in four colors by Henry Stone and Son, Ltd., Banbury. 


1318. PocAny (Wriitr) Inuustrrations. Roiizston (T. W.). The Tale 
of Lohengrin, Knight of the Swan, after the Drama of Richard 
Wagner. Printed on tan colored paper. With full-page colored 
lithographs, other full-page and smaller illustrations, ornamental 
initials, borders and tail-pieces, in black-and-white, sepia and colors 
fo i by Willy Pogany. Imperial 8vo, full tan unfinished calf, gilt design 
and lettered title on front cover and backbone, illustrated end- 

papers, uncut. 
New York: Thomas Y. Crowell & Co. [Printed London], recent 
With exquisitely designed and colored illustrations by Willy Pogany. The 
entire book including auto-lithographs, is printed by off-set lithography by Vin- 
cent Brooks, Day and Sons, Ltd., London. ‘The plates printed in four colors 

are the work of The Dux Engraving Co., Ltd., Glasgow. 


1319. Poport p—EL Monpo. Use e Costumi. By De Gubernatis, Alberti, 

Brunialti, and others. With full-page colored plates and numerous 

7 SO text illustrations. 5 vols. imperial 8vo, cloth. Milano, no date 
go 


Contents: Asia. 2vols.; Oceania; Africa; America. 


_ 1320. Prévosr (L’Anse). Manon Lescaut. Engraved vignette on title 
printed in red and black, printer’s device on verso, dainty orna- 
mental initials, head and tail-pieces. Thick 8vo, full crimson French 
levant morocco, triple gilt fillets on sides, full gilt panelled back, 

— broad inside gilt dentelle and fillet borders, gilt top, uncut, original 


S : vellum wrappers bound in, By THE CLUB BINDERY, 1900. 
Paris: D. Jouast, 1867 


Edition limited to 300 copies on Whatman paper. Fine copy. One of the series 
of, “Les Romans Classiques du XVIIIe Siécle, Publies par G. d’Heilly and F. 
Steenackers.” 

Exrra-riLustratep by the insertion of 19 plates, all but oné being proors BE- 
FORE LETTERS, consisting of a set of 12 illustrations by J. Chauvet, in three states, 
two sets being on China paper, of which one is in sepia; 6 Etchings by Ed. 
Hédouin, done on light brown paper; and a portrait of the author by Ficquet 
after F. Schmidt. 

With Caruso’s autograph inscription on fly-leaf—“Propriété personelle @En- 
rico Caruso, New York, 1913,” and the same inscription, dated 1912, written across 
page 7 of printed text. 

With bookplates of Robert Hoe, and Enrico Caruso. 


Evening Sale 


1821. [Preévostr (L’Anse).] Histoire de Manon Lescaut et du Chevalier des 
Grieux. Précédée d’une Préface par Alexandre Dumas fils. With 
2 engraved portraits and 9 plates by Flameng. 8vo, full crimson 
French levant morocco, sides with elaborate foliate design onlaid in 
various colored moroccos and gilt, back panels with sprays of leaves 
in gilt and onlaid centre flower, doublures of citron levant with a 
semis of floral vases in onlaid purple morocco and gilt, and laurel 
sprays in green and gilt, border of green morocco and gilt dentelle, 


Ho . fly-leaves of brocaded silk, gilt edges, ny aurnet. Enclosed in 
board slip-case, with protecting wrapper of half morocco, gilt let- 
tered on back, suede lining. Paris, 1875 


CoritecTioN DE GALLAUP DE CHASTEUIL; LIMITED IssuE, Only a small number 
printed on Turkey-Mill paper, of which this is, No. 1. Uniaur copy, rxtra- 
ILLUSTRATED by the insertion of 2 additional series of illustrations to the work, 
one engraved by Ed. Héd, 1874, one by L. Monzies; also Two oricGINAL WATER 
skercnes by F. Bourdin, one on half-title of each part. 

In an exquisite mosaic binding by the Master French Binder, M. Quinet. 


1822. Privosrt (L’Anst). Histoire de Manon Lescaut et du Chevalier des 
Grieux. Préface de Guy de Maupassant. With dlustrations after 
designs by Maurice Lelotr, comprising 12 full-page plates engraved 

jo 4 by Louis Ruet, 225 vignettes engraved by Jules Huyot. Royal 4to, 
half blue calf, gilt back, gilt top, uncut. Paris, 1885 


1323. Prévosr (L’Asst). Histoire de Manon Lescaut et du Chevalier de 
Grieux. Preface de Guy de Maupassant. Beautifully illustrated 
with 12 full-page colored plates, and 212 charming vignettes from 
the designs by Maurice Lelotr. Royal 8vo, full green French levant 
morocco, Janseneste, gilt inside morocco borders, doublures of 

IS- burnt-orange morocco, flowered silk fly-leaves, uncut, gilt on the 

rough, by LortIc. Paris, 1889 

UniaquE AND BEAUTIFUL copy, Of which only 50 copies were printed on Im- 
perial Japanese Vellum, of which this is, No. 45. 

EXt?RA-ILLUSTRATED BY THE INSERTION Of 23 engraved plates, mostly Proofs on 


India Paper, some, not on India paper, inlaid to size. 
With bookplate of Enrico Caruso. 


1324. Privosr (Marceri). Lettres de Femmes. Numerous illustrations by 
H. Gerbault; Nouvelles Lettres de Femmes. Illustrations by A. 


50 Guillaume. Together, 2 vols. 12 mo, uniformly bound in boards, 
° marbled morocco backs with gilt, leather labels, gilt tops, uncut. 
Enclosed in board slip-cases. Paris, no date 


1325. Racine (JEAN). Théatre de Racine: Andromaque, Les Plaideurs, 
Britannicus, Bérénice, Bajazet. [With Preface by M. Poujoulat. | 


eG With engraved portrait and 46 vignettes by Foulquier. 2 vols. 
“ ‘[ Continued 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


[ No. 1825—Continued | 
royal 8vo, full claret French levant morocco, gilt fillet borders and 
corner ornaments on sides, gilt paneled backs, inside fillet borders, 
gilt edges, original wrappers and backbone bound in each volume, 
BY CANAPE. Each volume in chamois-lined board slip-case. 


Tours, 1876-1877 


Limirtep Issur, 10 copies only printed on chamois paper, of which this is, No. 7. 


1326. Ractner (A.) L’Ornement Polychrome. A series of 100 plates m 
gold, silver and colors, comprising upwards of 2,000 specimens of 
the various styles of Ancient, Oriental and Mediaeval Art, and 

1 . Co including the Renaissance, the Seventeenth and Eighteenth Cen- 

’ turies. Lacks title-page. Descriptive Text in French. Folio, half 
crimson morocco. 

Paris: Firmin, Didot fr. Fils et Cie, undated 


“Presented to my Friend Signore Enrico Caruso, Xmas, 1916, Emanuel M. 
Gattle,’” on fly-leaf. 


13827. RackHam (ArtHur) Ituustrations. Wacner (RicHarp). ‘The 
Rhinegold & The Valkyrie. Translated by Margaret Armour. 
Vignette on title and 34 full-page colored plates by Arthur Rack- 
ham. 4to, original half vellum, gilt top, uncut. In board slip-case. 


m4 Th 5 o London, 1910 


Edition limited to 1150 copies numbered and signed by the artist; of which 
150 only are reserved for the United States, this being, No. 1022, autographed 
by the artist. 


1328. Rammarxers (Louis). Raemaekers’ Cartoons; with accompanying Notes 
by well-known English Writers. Portrait and 149 cartoons of the 

oa World War, some in colors, by Raemaekers. Royal 4to, original 
; blue linen, gilt lettered on front. Garden City, 1916 


Presented to Enrico Caruso by Dr. Holbrook Curtis, with card laid in. 


13829. Raemaekers (Louis). The Century Edition de Luxe of Raemaekers’ 
War Cartoons, with Descriptive Chapters. Foreword by Theodore 

Roosevelt ; Edited by J. Murray Allison. Frontispiece and 125 

e. O- cartoons of the World War, mostly in colors. 2 vols. atlas folio, 
original white cloth, name in gilt on fronts, leather labels, gilt tops, 

deckled fore-edge. Each volume in white holland protecting wrap- 

per, gilt lettered. New York, 1917 

Century Eprrion pe Luxs, limited to 1050 copies, on Alexandra Japan paper, 


of which this is, No. 260, printed for Enrico Caruso, certified by, Don M. Parker, 
Secretary Century Company. 


Evening Sale 


1330. Razmaxers (Louis). Kultur in Cartoons; with accompanying Notes 
by well-known English Writers. With 109 cartoons of the World 

ig War, some in colors, by Raemaekers. Royal 4to, original red linen, 

. gilt lettered on front. New York, 1917 


Companion volume to “Raemaekers’ Cartoons,” published Garden City, 1916. 


1331. Razemarxkers (Lovis). America in the War. Each Cartoon faced with 
a Page of Comment by a Distinguished American. 103 cartoons 

[6 of the World War, some in colors, by Raemaekers. Royal 4to, 

; original red linen, gilt lettered on front. New York, 1918 


Issued uniformly with the preceding World War Cartoon items. 


1332. Rempranpt. Coppirer (Anprt-CHartes). Les Eaux-Fortes de Rem- 
brandt. L’Ensemble de l’Oeuvre Gravé, la Technique des ‘Cent 

Florins,” les Cuivres Gravés. Numerous etched reproductions of. 

Ee the etchings of Rembrandt. Royal 4to, pictorial wrappers, uncut. 
f Paris, 1917 


With the following autograph inscription on wrapper,—‘4d Caruso, Amico 
G. A. H. N.J., Nov. 719. (Soprannomiento ora Eleaharo.)” 


1333. Ricxarps (ConsTantIneE GrorcE). The Ruins of Mexico. Extensively 
illustrated with photographic reproductions, hinged to leaves of 
gray drawing paper, of ruims of temples, terraces, forts and other 

— buildings of old Mexico. Volume I only, all issued. Small folio, 
S$ 6 cloth. London, 1910 


First Eprrion. All the photographs in this work were taken in the years 1909 
and 1910 by the Author, with the exception of the smaller ruins of Yucatan, 
which are supplied by Mr. Guerra of Merida, Yucatan. 

PresenTATION copy to Enrico Caruso, with one leaf autographed inscription, 
signed by “Thos. S. Gore, Mewico City, October, 1919.” 


1334. Rosa (Satvaror). Has Ludentis otii Carolo Rubeo Singularis Ami- 

citiae Pignus D. D. D. A series of 62 full-length original etchings, 

SO mounted only at left hand corners. 4to, half blue morocco, gilt. 

)}. Circa 1650 
BRILLIANT IMPRESSIONS. Rare. : i 

Presentation Copy to Enrico Caruso from Enrico M. Scognamillo, with an auto- 


graph inscription on his personal card, reading, “Con mille aujurti e multo affetto, 
25 Febbrajo, 1916.” 


1335. Rosrann (Epmonp). A Collection of Plays and Works by Edmond 
Rostand. 9 vols. in 7. 12mo, uniformly bound in three-quarter 
red morocco, gilt sides, backs with gilt and onlaid with blue and 

ZO: green morocco, gilt tops, uncut. Paris, 1902-1914 
CONTENTS 


Chantecler. 1910. Limited to 1000 copies on papier impérial du Japon; La 
Samaritaine. 1911; Les Romanesques. 1913, Un Soir a Hernani. 1902. Limited 


[| Continued 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


[No. 1885—Continued | 


1386. 
2] Se 
13837. 
1388. 


1339. 


to 30 copies on papier du Japon; Cyrano de Bergerac. 1918; La Princesse 
Lointaine. 1914. Discours de Réception, a PAcadémie Francaise, le 4 Juin 1903. 
1913. Limited to 20 copies on sur papier du Japon; Les Musardises. 1911; 
L’Aiglon. 1914. Limited to 180 examples on papier du Japon. 


Rostanp (Epmonp). Chantecler; piéce en quatre actes, en vers. 
Représentée pour la premiere fois au Théatre de la Porte-Saint- 
Martin, le 7 février 1910. Imperial 8vo, full limp calf, front with 
embossed design of a “Chantecler” and title signed by R. Lalique, 
uncut. Paris, 1910 

Uniaur. “Exemplaire sur papier impérial du Japon, imprimé spécialement 
pour M. Arthur Meyer.” With autograph presentation inscription,x—“‘Offert a 
M. Caruso en temoigne d’admiration reconnaisante, Arthur Meyer,’ below the 
certification of printing. 

With four-line quotation from “Le Rossignol,’ in the autograph of the author, 
signed,—_“E#dmond Rostand,’ and ortcINaL watTEeRcOLoR skeTcuH of the “Chante- 
cler,”’ 214 by 61% inches, also signed by Rostand, on half-title. 

With bookplate of Enrico Caruso on Dedication leaf. 


Ryan (Minure). What Every Singer Should Know. Numerous por- 
traits. 12mo, original cloth. New York [1916] 


Presentation copy to Enrico Caruso, with author’s autograph inscription. 


Saint-Pierre (Bernarpin ve). Paul et Virginie. With illustrations 
PROOFS BEFORE LETTERS ON CHINA PAPER; title within ornamental 
woodcut border. Imperial 8vo, full plum-colored levant morocco, 
gilt framework on sides, with corners in a semis of small fleur-de- 
lis, gilt paneled back, elaborate inside borders of gilt dentelle, gilt 
top, uncut. Boston: Houghton Mifflin et Cie., 1906 


Limirep issur, 280 copies printed on hand-made paper, of which this is, No. 189. 


Satvo (Carxto). Flamma Alitur. Prefazione del Luigi Roversi. 12mo, 
full limp morocco, gilt top, deckled edges, original front wrapper 
bound in. New York, 1916 


First Eprrion. Presentation copy to Comm. Enrico Caruso, with autograph 
inscription,x—*dA Enrico Caruso Signore del canto con la stima e la devozione 
che si hanno per la anime nobili e generose e per le menti elette, offre l Autore. 
Octobre 910.” 


Srorza (Lupovico, “In Moro”). Vauert (Francesco M.). La Corte 
di Lodovico il Moro; la Vita Privata e l’Arte a Milano nella seconda 
Meta del Quattrocento. With 40 plates including colored frontis- 
prece, portraits and others m colors, and 1000 illustrations in the 
text. ‘Thick imperial 8vo, full wine-colored calf, sides with embossed 
frame and brass corner bosses, with embossed medallion portrait 
of Ludovico and gilt-lettered title on front, gilt top, uncut. 

Milano: Ulrico Hoeph, 1913 


Evening Sale 


1341. SHaxesprare (WixriaAm). Shakespeare’s Tragedy of Romeo and Julict. 
Extensively illustrated by W. Hatherell, with decorative title-page, 
and numerous colored plates, each hinged to leaf with ornamental 

So. border, and accompanied with tissue guard-sheet with descriptive 
letter-press. Royal 8vo, cloth, gilt. 

New York and London, recent 


1342. [SuHetiey (Percy Byssur).|] Shelley. Tradotta da Antonio Calitri. 


8vo, full red seal leather, gilt lettered on front cover. 
New York, 1914 


SO Pres—ENTATION Copy to Enrico Caruso from the Translator, with the following 
autograph inscription on title,—“4l Divo Enrico Caruso augurando gli felicita A. 
< Calitri.” 


1343. Sremiten (Tu. A.). Steinlen and his Art, Twenty-Four Cartoons, 
with a Critical Introduction and Descriptive Notes. Portrait of 
himself and 23 cartoons, some in colors. Folio, original cloth with 


J} SO reproduction of the “Organ Grinder” cartoon on front. 
New York, 1912 


1344, Srryiensxr (Casimir). La Galerie du Régent Philippe, Duc d’Orléans. 
Extensively illustrated with full-page reproductions of paintings 
by Rubens, Bellini, F. Melzi, Veronese; Titian, Mola, G. Reni, 
Watteau, and other masters of the various schools, a number of 

SO the plates being facsimiles in colors. Royal 4to, full claret-colored 
BD)» French levant, sides with broad border of scroll and foliate design 
between gilt fillets and narrow fleur-de-lis borders, inside corner 

ornaments, royal coat-of-arms stamped in center; full gilt panelled 

back, with emblematical design, two of the panels containing the 

monogram “P P”; inside gilt scroll borders, gilt top, uncut, orig- 


inal wrappers bound in, By pURVAND. 


Paris: Goupil & Cie, 1913 


Edition limited to 400 copies on “papier 4 la main des Manufactures de 
Rives,” of which this is No. 224. Each plate with tissue guard-sheet, title printed 


in red. 


1345. THeatre. Theatro Municipal do Rio de Janeiro. Numerous photo- 
gravure illustrations, consisting of portraits, exterior and interior 
views, text illustrations, and decorative borders. Royal Ato, full 

Co green levant morocco, front cover with gilt and a repoussé medallion 

I : of arms of Rio de Janeiro, gilt edges. 
[Rio de Janeiro,| 1913 

Presentation Copy, inscribed in the autograph of the donor, “To artisto Sr. 


Com. tor Enrico Caruso, a Diriciso & Theatro Municipal. Rio de Janeiro, 20 
September, 1912. Raul Cordova.” 


Kindly read the Conditions under which every item is offered 
and sold. They are printed in the forepart of the Catalogue. 


1346. Trirrs (M. A.). Histoire de la Révolution Francaise. Second Edition. 
Numerous portraits. 4 vols. 8vo, half red calf, gilt sides and 
Ss : backs, uncut; some portraits foxed. Bruxelles, 1838 


Each volume with bookplate of Emanuel Levy. 


1347. Tissor (J. James). Ituustrrations. The Old Testament. With 396 
full-page and text original compositions, in colors and black and 
white, illustrating the Old Testament; and titles in red and black. 

20 A 2 vols. royal 4to, full black levant morocco, gilt, gilt edges. 
Paris, London, and New York, 1904 


1348. Vatican (Tuer). Its History—Its Treasures. Edited by Ernesto 
Begni and others. Profusely illustrated with full-page and text 
2 photogravure illustrations. Imperial 8vo, vellum, front stamped 
5 with insignia of Vatican within elaborate gilt tooled frame, back 
cover with gilt center ornament, doublures and end-leaves of white 

watered silk, gilt edges. Enclosed in board slip-case. 
New York [1914] 


A large proportion of the photographs used were taken specially for this 
work, many being of objects never before photographed. 


1349. Vatican (Tur). Its History—Its Treasures. Edited by Ernesto 
Begni and others. Profusely ulustrated with full-page and text 
155 photogravure illustrations. Imperial 8vo, vellum, front stamped 
: with insignia of Vatican within elaborate gilt tooled frame, back 
cover with gilt center ornament, doublures and end-leaves of white 

watered silk, gilt edges. 
New York [1914] 


1350. Verea (G.). Cavalleria Rusticana, cd Altre Novelle. 12mo, half 
morocco, gilt, back with gilt and onlaid in red, gilt top, uncut, By 


fe BRENTANO. Milano, 1900 


Inscribed “Proprieta personale a Enrico Caruso, New York, 1913,” in the 
autograph of Enrico Caruso, across first page of text. 


AMERICAN ART ASSOCIATION, 


MAnaAGERS. 


THOMAS E. KIRBY, 


AUCTIONEER. 


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